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FIRST DIVISION

AUTHENTIC EDITION

CARL BAERMANNTS

(Op. 63)

COMPLETE CELEBRATED METHOD

FOR

CLARINET

Revised for the ALBERT and BOEHM SYSTEM

GUSTAVE LANGENUS

CARL FISCHER, INC.

COOPER SQUARE, NEW YORK 3
Boston • Chicago • Dallas • Los Angeles













Copyright MCMXVIII by Carl Fischer, New York
Copyright renewedAUTHENTIC EDITION

CARL BAERMANN'S

(Op. 63)

COMPLETE CELEBRATED METHOD
FOR

CLARINET

Revised for the ALBERT and BOEHM SYSTEM

BY

GUSTAVE LANGENUS

1st DIVISION (Theoretical Part)...........................

2nd DIVISION (Preparatory Scales Studies).......

3rd DIVISION (Grand Preparatory Exercises as
Daily Studies) ...........................................

COMPLETE (Three Divisions)...............................

$1.00
2.00

2.00
4.50

Carl Fischer,

INC.

COOPER SQUARE, NEW YORK 3
Boston • Chicago • Dallas * Los AngelesTABLE OF CONTENTS

1st DIVISION

(THEORETICAL PART)

PAGE

FOREWORD.....................

CHAPTER I. a) Historical Notes

b)	Different Parts of the Clarinet...............................,............ii

c)	The Lay................................................................................................................ii

d)	The Reed and Ligature......................................................................................ii

II.	How to Hold the Instrument......... ........................................................iii

III.	Embouchure...............................................................iii

IV.	The Trill (Rules)........................................................................................................iv

V.	Embellishments..........................................................................................................vi

VI.	The Signs of Expression............................................................................................vii

VII.	Interpretation...............................................................vili

VIII.	Explanatory Remarks on Breathing........................................................................viii

IX.	Technic................................................................................x

X.	Additional Remarks as to the Necessary Requirements of Clarinet-playing;
Tone Production, The Reed and its Preparation.................. ............x

RUDIMENTS OF MUSIC...................................

CHARTS OF ALBERT and BOEHM SYSTEM CLARINETS

........... 2

Between iv& v

LIST OF PRINCIPAL WORDS USED IN MUSIC

1

2nd DIVISION

PREPARATORY SCALE STUDIES,

3rd DIVISION

DAILY STUDIES (Advanced Studies in Scales and Chords)FOREWORD

CARL BAERMANN, the author of this Clari-
net Method, Mas born in Munich in 1820,
and died in the same city in 1885. Heinrich
Baermann, 1788-1874, father of Carl, was the
greatest clarinet player of his day His name was as
well-known in the musical circles of Paris and
London as in Munich. He traveled extensively
throughout Europe, evoking the greatest enthusi-
asm wherever he appeared. While in London he
was invited by the Prince-Regent, afterwards George
IV, to become his guest at the palace during his
stay. He was also the protégè of Louis Ferdinand,
of Prussia, at whose court he often appeared as
soloist.

It is recorded that Carl Baermann was even a
greater clarinetist than his father. At the age of
fourteen he became a member of the Munich
Court Band, and after the death of his father was
chosen as first clarinet in that organization. When
eighteen he was introduced to the European
musical world by his father in an extended tour
throughout the continent. So great were his
artistic achievements that King Ludwig of Bavaria
showed his appreciation by conferring upon him
the gold medal of Arts and Sciences. The Baer-
manns were intimately acquainted with Carl Maria
von Weber, who spoke of Heinrich as "a truly
great artist and a glorious man/' Weber dedicated
most of his clarinet works to Heinrich and was
also the godfather of Carl. Mendelssohn wrote
some of his most noteworthy letters to Heinrich,
two of which are included in the "Letters of Dis-
tinguished Musicians/'

While Carl Baermann was a wonderful performer
on the clarinet, the interest of clarinetists centers
particularly on the excellent clarinet method which
he composed between the years 1855 and 1865. This
work contains a wealth of instructive and melodic
material so stimulating as to make one forget it
was written for teaching purposes. Baermann
was an untiring worker, and in addition to his
numerous compositions, was also engaged for many
years in endeavoring to improve the mechanical
parts of his instrument. The result of these years

of labor in this direction was the Baermann System
Clarinet. The basis of this system was the same as
Muller's thirteen keyed clarinet, to which Baermann
added some duplicate fingerings, such as an extra key
for the Bb-F taken with the little finger of the left
hand, a forked F-C with the left hand, a F sharp-C
sharp key operated with the right hand thumb.
Theobald Bohm's system of fingering was also util-
ized by Baermann to some extent.

All the fingerings marked in the original edition
of the Baermann Method are, as a matter of course
based upon this system. But since the days of
Baermann no end of superior improvements have
been made in the mechanism of clarinets, and while
there may be a few scattered players who still use
the "Baermann System," it has become practically
obsolete in France, Belgium, Italy and the United
States.

While Baermann's "System" has disappeared, his
"Clarinet Method" remains as one of the finest
works of its kind ever written, and the present new
edition has been revised with the special object of
modernising it and making it thoroughly acceptable
for the practical needs of all present-day players.

In consequence all finger marks referring to the
Baermann Clarinet System, which were the cause
of so much confusion to modern clarinetists, have
been eliminated; the introductory chapter contain-
ing Baermann's lengthy description of his invention
has been omitted and the form of the first chapter
proper has been re-arranged in such a way as to
enable the student to follow certain events in their
chronological order.

With the exception of these and a few other minor
changes, the method as a whole, together with its
instructive text has been left intact, although I do
not always agree with many of Baermann's state-
ments. As to the musical contents it would be a
sacrilege to change a note, as in my estimation there
has been no other who has ever written so interes-
tingly and effectively for the Clarinet as did Carl
Baermann.

—Gustave Langenus.Chaptkr I.

(a) Historical Notes.

THE invention of the Clarinet is credited to a
flute maker named Johann Christoph Den-
ner, who was born in Leipsic, 1655, and
who died in Nuremberg in 1707. Its very first
manufacture is said to have taken place between
1690 and 1708, naturally in a very unsatisfactory
manner, as compared with the perfected instruments
ot modern times. These first specimens of the
Clarinet were constructed with seven holes and two
keys,

for the A :

and Bk

All the other semi-tones had to be produced arti-
ficially by relaxing the lips and withdrawing the
mouthpiece. The difficulties of producing a chro-
matic scale evenly and in tune under such conditions
will be apparent to every clarinet player.

The necessity for improvement was therefore
soon felt, as the Clarinet, even in this, its primitive
form, gave promise of remarkable future usefulness.

The most prominent instrument makers of those
times were Barthold Fritz, credited with adding
the C sharp-F sharp key; Joseph Beer, the A flat-
E flat key; Xavier Lefevre, the C sharp-G sharp
key; Stadler, Kriesling, Schott and Ivan Miiller, who
after incessant experiments and trials, finally suc-
ceeded in producing a thirteen keyed Clarinet. This
instrument was in good tune throughout and its
smoothness of tone and technical possibilities sur-
passed all previous Clarinets.

However, Miiller's contemporaries considered this
"new" system too complicated and in spite of con-
siderable financial assistance, Miiller was finally
compelled to wind up his business and leave Paris.

In 1839, L. A. Buffet, the famous French instru-
ment maker, exhibited a Clarinet in Pans to which
he had applied the mechanical system which Theo-
bald Bòhm had applied to the Piccolo and Flute,
but the patent for this instrument was not granted
until 1844. Buffet and Klosé are equally credited
with having brought the so-called Boehm system
Clarinet to its present state of efficiency and no
greater progress in Clarinet manufacture seems
possible than has been achieved in the production
of the modern seventeen keyed, six ring Boehm
system Clarinet; this instrument undoubtedly pos-
sesses all the most desirable qualifications of tone
and tune and its technical possibilities are more
than ample while music remains in its present stage
of development.

Upon this instrument the chromatic scale can be
rendered perfectly pure and its execution has be-
come a matter of comparative ease.

However, unremitting diligence is required for the
mastery of any instrument, and particularly one

MOITH PIECE

LOWER JOINT

which calls for double exertion and endurance, since
in its service, it employs one of man's noblest organs
—the lungs.

(b) Different Parts of the Clarinet *

"As a rule, the Clari-
net consists of five
pieces; themouthpiece,

barrel, upper and lower
joints and bell. (See
Figure I.)

Mouthpieces are
made of the hardest
material obtainable,

such as ebonite and
crystal, in order to give
the maximum stability
to the lay, (See Figure
II.) which through atmospheric
changes is liable to warp.

The barrel joint is convenient for
tuning purposes. It can be secured
in different lengths to order.

The upper and lower joints are
detachable for the sake of conven-
iently carrying the instrument in
a case.

The bell is chiefly
ornamental; a contin-
uous straight tube of
the right length to emit
the E and B would do
as well.

(c) The Lay.

The lay is that part
of the mouthpiece upon
which the reed lies. It
must be perfectly level, except near the tip, where
the two sides slope away from the reed, leaving a
small opening for the reed to vibrate upon. This
opening varies in different facings. I use and
recommend the French lay, as indicated by the
heavy line on Figure II. with the facing best adapted
to the individual embouchure The dotted lines
represent the varieties of German lays.

(d) The Reed and Ligature.

The reed is a thin piece of cane cut from a certain
tall grass, Arundos Sativa, grown on the Mediter-
ranean coast. It plays an important part in tone
production and great care must be exercised in its
selection. The reed must not be so hard as to cause
effort in playing. Ease and naturalness are the
desiderata to be held in view; these are only to be
obtained with a good mouthpiece and a good reed.

The ligature secures the reed to the lay. The
reed is placed centrally and the point must not over-
lap the tip of the mouthpiece. (See Figure III.)"
*From the Langenus Clarinet Method by permission.

[«:Chaptfr [[.

11 ow to Held the Instrument.

SINCE aesthetics should form the foundation of
art in its every detail, it is most important for
the pupil from the very beginning to acquire
a graceful manner of holding the instrument, as well
as a natural, unaffected posture of the body. The

GUSTAVE LANGENUS

upper part of the body should be kept as straight
and erect as possible, in order that the chest mar
he thrown forward and the taking of breath be
properly and easly managed. The feet should be
placed about a foot and a half apart. The instru-
ment itself should he held gracefully and naturally,
the left arm which manipulates the left-hand joint,
being about a hand and a half's breadth distant from
the body. Special care must be taken to hold the
forefinger in such a way that, when lying in position,
above the hole,, it may open the A and A-flat keys
with merely a slight movement. For the general
facility of execution this correct position of the
and is of the greatest importance. The thumb
of the left hand must also be held in such a man-
ner as to he able to manipulate the B and B-flat
key with ease and through a mere curving of the
first joint. This is most important, as otherwise it
would be impossible to bring about a smooth con-
nection between the lower and the upper register,
since the B and B-flat key, beginning with the tone B

^ÉH

gives life and color to all ascending tones. The

right arm, which holds the lower piece, stands
farther forward, since, from the point at which it is
taken in the mouth, the instrument itself recedes
more and more obliquely from the body, so that at
the place where the thumb of the right hand takes
hold of the holder, it should be about three hands
distant from the body. The fingers should rest
lightly and without stiffness upon their several holes
and keys, and a finger when raised, must not move
from its place.

The greatest obstacle to be met with in the course
of correct technical development is a certain faulty
habit of drawing the fingers in and raising them back
again. This produces a feeling of cramp in the hand,
besides removing the fingers too far from the re-
spective places in which they should remain.

It is hardly necessary to say that much depends
on the build of the pupil's hand, and that longer
fingers require different placing than shorter ones.
This is a point which must be left to the teacher, who
will doubtlessly choose the right method, without
departing too much from the principles, laid down
in the above chapter.

Chapter III.

Embouchure.

Embouchure is of the greatest importance for tone
production, and it may best be described as tone-
production itself.

There is a class of clarinetists that play with the
reed turned up, although I cannot ascribe any good
reason for such a method of tone-production.

Whoever considers the structure of the mouth
must become convinced without delay that this
method is a wrong one for the following reasons:
The stronger or weaker pressure of the lip on the
reed is of the utmost importance for the production
of tone; every degree of pressure acts so decisively
on tonal color and articulation that the finished
artist will ultimately experience that every tone,
properly speaking, has its own embouchure, though
this of course, is an enigma to beginners.

Now, then, how is it possible to master all these
finer shadings with the upper part of the head and
its lips, since that part is utterly motionless ! Motion
is possible only for the lower jaw of the human head,
and it is on that account that the reed should be
turned down, to be managed by the lower lip. More-
over, the stroke of the tongue (staccato) is of great
importance. It is impossible to give the three
varieties of staccato—the sharp, the soft and the
tied—with proper distinctness, if the tongue, instead
of encountering the reed, infringes on the rigid mass
of the inverted upper part of the mouthpiece. There-
fore, I say, "Down with the reed to the underlip."
Some players, too, take the mouthpiece so far into
the mouth as to cause anxiety lest they choke them-
selves with the instrument. To say nothing of such
an extremely unaesthetic spectacle, the method initself is poorly suited for tone-production; with it,

the tone will be somewhat hollow and pinched, and
lack the noble quality which makes it resemble the
human voice.

Many clarinetists play with the upper and lower
lip drawn over the teeth, which may have some
advantages, as the tone appears to the player him-
self—though in reality it is not—to be smoother, a
point to which I shall refer by and by. But in view
of the endurance required in our time, in orchestra,

as well as in concert-playing, the new method—that
ot placing the teeth directly on the upper part—has
come to be acknowledged as the most expedient,
and it is this method which I have adopted in the
present school. Those players who think that with
this position the tone loses in smoothness, are
greatly mistaken. The direct application of the
teeth to the mouthpiece causes the "player himself'
to be deceived at first, for the following reason:
The two hard objects—tooth and wood or plate of
silver—induce a vibration in the interior of the
human head, which is communicated to the ear of
the player; the outsider and listener, however, can-
not perceive any difference whether the upper lip is
drawn over the teeth or not. This deception, more-
over, occurs only at first and gradually disappears
entirely.

It is easily conceivable that anyone accustomed
to playing with the lip drawn over the teeth, should
upon giving up this method, find his tone changed;
this change, however, is caused rather by the
novelty and uncertainty of the embouchure, than
through employment of the new method itself. Let
the player continue for a fortnight with the new
embouchure, and he will soon find his former ex-
perience reversed. All my pupils, and among them
very able artists, have gladly adopted this method,
and find it more natural and efficient than the
former one, as thereby the endurance, and as a
necessary consequence, the certainty is at least
doubled.

As to the lipping or embouchure itself, the teeth
must be set about half an inch from the point of the
mouthpiece. The under lip must be drawn lightly
over the lower teeth and find its place of itself,
directed by the adjustment of the teeth; the corners
of the mouth must be firmly closed, so that the air
rushing into the instrument may find no other
escape.

The cheeks must likewise be drawn in as much as
possible and should not, on any account, be inflated;
for this is both ungraceful and prejudicial to the
production of a good tone. The higher the tones
ascend, the more imperatively do they require a
firm and delicate treatment by means of the upper
lip. The reed should be pressed more and more
strongly against the face of the mouthpiece, so that
the air-space between the two may be contracted, be-
cause the high notes require less wind and the vibra-
tions of the reed become shorter. Just the contrary,

of course, takes place when the tones descend to a
lower pitch, so that, on reaching the lowest tone, the
under lip must be greatly relaxed, in order that the
reed may vibrate without hindrance. An inviolable
law for the beginner is "to lip with deliberation and
repose"; practice, with time and patience, will enable
him to find the proper embouchure for a given tone,
without his having to hunt for it through all possible
variations.

Chapter IV.

The Trill (Rules)

IN its correct technical treatment, the trill is one
of the most difficult embellishments, and re-
quires diligent and persevering study. Un-
deniably, the trill, like technic tone-formation, the
staccato, and in general all that pertains to highei
art, presupposes natural gifts on the part of the player.
I have known virtuosi, who, with the most finished
technic, could not produce a beautiful trill, and
others again who could not produce a staccato with
certainty, no matter how hard they would practice.
However, a method of instruction cannot take
account of individual talent or lack of same, but
must call for greatest diligence to satisfy the re-
quirements of art; even he whom nature has not
gifted with special talent, will by diligent striving
after perfection, achieve at least so much as to be
able to cover up his imperfections artistically and
with discretion.

The trill consists of two tones following in rapid
and frequent alternation; according to the key-
signatures of the piece these will form either a
major or a minor second, the lower of the two tones
being the principal tone, upon which the trill,
properly speaking, is made. Whether the second
formed by the trill is major or minor, depends, as
we have just said, upon the key-signature; hence it
would be a gross musical blunder to play a trill
upon this note:

. m

with E-sharp and upon this:

with E-flat, unless one or the other, in spite of the
signature, were especially intended, which would
have to be indicated by placing a natural ( lj) over
or beside the trill-sign for the first case, a flat ([>)
for the second, or in other cases a sharp ($).

There are various kinds of trills, though, on the
whole, they do not differ very essentially from each
other. Thus, with some the trill is begun with the
higher note: for example:

. ir	-----

written

I iv Jwith others, of whom I am one, with the note upon
which the trill stands, thus:

written

executed

My reasons for preferring the latter method are:
firstly, the tone, upon which the trill is produced, is
given out more decidedly thereby; and secondly,
there is an unpleasant feeling connected with the
downward trill of the first method.

As a rule the trill closes with a turn, consisting
of the tone one degree below the principal tone,
immediately followed by the principal tone; but
these two tones must follow each other just as
quickly as those of the trill.

Together with the turn, attention must be paid
to the signature of the piece and to the key in which
the principal tone of the trill is, so as to decide
correctly, whether the turn be played with a semi-
tone or a tone below. The careful composer
generally indicates his intention with small notes
following the principal note of the trill, for instance:



: eta

In sostenuto passages, or in very slow movements
as adagio, largo, larghetto, the turn should be broader
and slower than the trill itself, and even the trill
should often be commenced more slowly: the latter
in particular, when, as is frequently the case, the
principal tone of the trill is preceded by its appog-
giatura or mordent, written in full; for example:

<9* tS

et©. or

The best judge in such cases must be the player's
own refined and artistic taste.

When the trill-sign (•%*) is placed over or under
the note, it indicates the trill without a turn; how-
ever, I use this but very infrequently as this kind of
trill does not form a good close. I use it only in a
series of trills quickly following each other (chain-
trills), for instance:

When the trill is preceded by an appoggiatura
consisting of the note below the principal tone, and
this principal tone itself, as:

m

or, of three notes, the first of which is one degree

below the principal tone, the second the principal
tone itself, and the third one degree above the
principal tone, as:

it is called a trill from below.

The exact reverse is the trill from above, as shown
herewith :

Mr

These trills are usually given in full with their
appoggiaturas indicated, as above.

Another kind of trill is the Mordent, also called
half-trill. Its duration depends upon circum-
stances and upon the character of the passages.
The older masters, such as Clementi, etc., teach
that it should be made downward, but in modern
times it is subjected to the law of the trill, being
made with the ascending Second (major or minor),
with and without turn. Its sign is *v. The follow-
ing passages

would be played as follows:

Whether such a succession of trills should be
played quickly or slowly, depends chiefly upon the
tempo of the piece. The old masters employed so
great a variety of trills and turns that we could not
possibly enumerate them all. In fact, this is hardly
necessary for a clarinet-school, inasmuch as the
modern notation either gives them plainly written
in full or indicates, with exactness, their suitable
appoggiaturas and turns. Furthermore, the effect
will be quite identical, whether I play the following
passage:

or thus

The difference is either hardly discernible, or of little
consequence.

[V]Chapter. V

embellishments.

The Appoggiatura and the Turn.

Like the trill, the appoggiatura and the turn are
classed as belonging to the so-called embellishments
in music. As I shall not attempt to include a
general treatise on the theory of music in this
method, I will introduce only such examples of the
above-mentioned embellishments as concern practi-
cal and essential needs of the Clarinet player. As
to the appoggiatura, it will suffice to say that it is
either long or short, and can form any possible
interval with its principal tone; however, if short,
it should always be in harmonic relation to that tone.
The long appoggiatura is generally marked by a note
of greater value than the short appoggiatura. For
instance:

—J-



In this case, too the appoggiatura requires a stronger
accent than the principal tone. Before a whole,
half, quarter, eighth, etc., it has half the value of the
note itself, which then has only the value of the note;
before a tied note, as for instance:

it has the full value of the principal tone, which latter
has only that of the note tied to it; such, at least, is
the doctrine of the old school. I do not, however,
agree with it in all cases, for the above example is
certainly more beautiful and correct, when played
thus:

Many of the old masters have written many of the
so-called "passing-notes" as appoggiaturas. Here
is an illustration from Cherubini's opera "The
Water Carrier:"



which every one would play:

etc.

etc.

Appoggiaturas of this kind are found in abundance
in the works of Mozart, Handel, Gluck, Haydn, etc.

The short appoggiatura, as its name implies, is
played exactly in the opposite manner, and, being
short, the accent falls upon the subsequent note.
For the sake of greater precision, this brevity of

execution is indicated in modern notation by a little
line through the tail of the note:



As this indication is not contained in the music of
the old masters (except in modern revisions), taste,
experience and above all, correct understanding of
the passages to be interpreted, must decide whether
the appoggiatura be long or short.

The turn is also a most effective embellishment.
If used with discretion and played with skill it will
add much to the artistic taste of a performance. In
former times it was used to excess, but this has been
remedied entirely by our modern school of composers.

The turn consists of four notes, the note above
the written or principal note, the written note itself,
the note below, and again the written note. The sign
is a turn generally placed after the principal
note. In this way a measure such as the following:

r	
ft r '	-j-—1-1

is played this way:

When the note is dotted, the last tone of the turn,
which is again the principal tone, must receive the
value of the dot. To illustrate:



is played as follows:

Dotted notes of less value, such as the following:

are played in this fashion:



An accidental (# or b) below the sign applies to
the lower tone, and above it, to the upper tone. If
supplied with an accidental both above and below :

it is. played like this :

It is a difficult matter to lay down positive rules as
to when the lower tone of the turn should be a halt

vi lor whole tone below, as in some cases the one is as
correct as the other. However, one rule may be
given: the turn on the Tonic, and also on the Fifth
of the scale, requires the half-tone below the principa
tone; moreover, it may be said in general, that, when
the upper tone of the turn is a whole tone above the
principal tone, the lower one is a half-tone and vice
versa. However, the upper tone of the turn must
always be in conformity with the natural scale in
which it occurs. Therefore, to play the following,

would be wrong

The correct way to play it would be:

In former times, the signs for the turn were fre-
quently used for many embellishments which are
now written out plainly in notes. Too many signs
cause confusion, and modern composers prefer
writing:

-jfr-fffn -

Chapter VI.

The Signs of Expression.

RICH as music is in its inner life and as the
language of the soul, just so poor is it in
appropriate signs adapted to indicate every-
thing the composer might wish to express. Of
course, we have many indications for the tempo,
from the slowest largo to prestissimo, but, neverthe-
less, what an infinite variety of tempo is possible
between these two extremes, which can never be
indicated in plain words. It might be claimed that
with the metronome we cannot go astray! True,
the metronome prevents serious errors of tempo in
general; nevertheless, it frequently occurs that in
certain passages the steady beat of the Metronome
is intolerable, and that a ritardando, rallentando,
accelerando, or stringendo indicate the proper move-
ment only in a most imperfect manner. Jn cases
like these, the refined taste and feeling of the player
must point out the true way, and indicate, whether
to accelerate or to retard. On the other hand, in
ensemble-playing, the individual must adapt his
playing to the performance as a whole, and this in
turn to the conductor. The signs of dynamic ex-
pression are also most imperfect, and merely give
approximate indications.

The following are the expressions for indicating
the tempo, from the slowest to the very quickest;

Adagio; Grave; Largo; Larghetto; Lento Andantino;
Andante; Allegretto; Moderato; Tempo giusto; Maesto-
so; Comodo; Allegro; Vivace; Con Spirito; Spiritoso;
Con Brio; Con Fuoco; Furioso; Presto; Prestissimo.

By way of modification, other words are prefixed
to these, such as : Molto; di molto (much) ; assai (very)
non troppo (not too much); un poco (a little); quasi
(almost, it were); piìi (more); meno (less); più tosto
(rather); sempre (always); ma (but); con (with);
senza (without); con moto (with motion); brillante
(brilliant); agitato (excited, excitedly); scherzando
(playfully); sostenuto (sustained); a tempo (in strict
time); ad libitum (at pleasure); rallentando or ritar-
dando (slackening the speed) ; accelerando and
stringendo (increasing the speed), etc., etc.

Marks of dynamic expression are as follows:

p, for piano (soft); pp. for pianissimo (very soft);
dolce (sweet) ; mezzo, or (half) ; f. for forte (loud) ; ff
for fortissimo (very loud); con tutta forza (with the
whole strength) ; fz. or sfz. for forzando or sforzando
(strong accentuation of a tone); crescendo or the
sign (increasing in power) ; decrescendo, morendo,
diminuendo, or the sign > (decreasing in power);
cantabile (singing); afectuoso (tenderly); grazioso
(gracefully, elegantly); con espressione (with ex-
pression); con grand9 espressione (with great expres-
sion); con dolore (grievously); con energia (with
decision, energy); tenuto (abbreviated ten.); indi-
cated in this school by a little line above the note
(—) indicates that the note is to be sustained for
its full value. In accordance the practical dynamic
signs at our disposal may be grouped as follows: p.;
pp.; f.; A; sfz.; or >> ; ten. or; cresc. -< ;
descresc. P» .

Properly speaking, there are but three kinds of
articulation, viz. slurred, detached and mixed.

A slur or curve ^ over the notes indicates that
the notes covered by the curve must all be slurred,
i.e., smoothly connected (legato.) Notes with dots
.... or accents ' ' ' ' over or under them, must be
detached and cut short by a stroke of the tongue
{staccato). If some notes are slurred and others
detached it results in mixed articulation, for
instance:

Slurred or legato articulation may also be varied,
if some of the notes are grouped as follows:

There are two kinds of detached articulation
(Staccato), the hard and the soft. The former must
be produced by the tongue; very sharp and short,
on the reed of the mouthpiece, in the same way as
if one were to pronounce tee, tee, tee, very sharplyDots or accents over or under the notes are the signs
tor this style of staccato, for instance:

i jrii

The soft slurred staccato must be produced in a
delicate manner, with the tongue, and should sound
as though the player were to pronounce, dee, dee, dee,
dee, dee, very softly and smoothly. Dots within a
slur indicate this style of staccato:

In addition to these, there are various modifica-
tions of the staccato, but the pupil should confine
himself to the usual forms, as indicated by the
above-explained signs.

C li AFTER VII.

Interpretation.

Feeling for beauty is mysteriously implanted in
the human soul, and one of its manifestations is
seen in the wonderful effects, which music produces
upon the heart. Yet, by reason of the mysterious
nature .of music, it is impossible to formulate abso-
lute and specific rules for producing such effects,
and we must content ourselves with laying down
certain general principles of musical interpretation,
for the guidance of reproductive artists.

The principal rules of interpretation for the pupil
are the following: he should take special care to
render everything exactly as written, observing all
signs, and explaining to himself all the possible
reasons for them; above all, he should beware of
lalse phrasing, not playing a passage like this:

r TÌT J i J

when the following is meant:-

fErf# "h1 ii| n i

Furthermore, he should not commit the common
fault of playing dotted notes without reference to
their strict value, for instance:

Moderato	___

l frFi	rV'fl iftf*'.» ■ "n	■ ^ .
instead of playing  J? f'jrfr. m		etc.
		s,  eto.

Moderato				

Moreover, he should play all unaccented parts of
the bar broadly, if they do not consist of short notes,
md keep a watchful eye on the accented parts
(especially on the first beat of a bar), and not hurrv
over the last notes of a bar, when they form the

introduction to the following one. Above all things
he should also accustom himself to observe the
prescribed tempo, in order to play exactly in time,
for freer playing is only in place for advanced
instrumentalists.

Again we observe that of two slurred notes the
first one is to be sustained for its full value, and
that as a general rule, ascending tones imply in-
creased emotion and vice versa. However, there
are many exceptions to this general rule; as often as
possible the pupil should try to hear good players
of the instrument, and if he himself be gifted with
talent and feeling, he will learn more from such
listening than he ever could from books. With
regard to the compositions of the great masters, it
is the duty of the reproductive artist to study them
in regard to the individuality of their writers, and
to play them in accordance with each one's charac-
teristics. To play Mozart like Beethoven, or Weber
like Spohr, would betray a lamentable lack* of
musical understanding. On the other hand, there
are innumerable other compositions intended for
the display of virtuosity, which the player may
perform and interpret according to his own indi-
viduality and taste. In such pieces the delivery is
so free that one and the same composition sounds
almost like two different ones, when differently con-
ceived and rendered. Who has not heard a piece
performed by two artists, each with a different
interpretation, without being able to decide, which
was the more correct, since each performance pro-
duced the effect of a sudden inspiration of the
artist himself! Now, this is the highest phase of
artistic reproduction. However, it does not imply
that the player may change the fundamental
character of a piece at will, but only that in expres-
sing joy, grief, rest, etc., etc., each one may follow
his own feelings, and thus imbue the piece per-
formed with his own individuality. Art has its
rules and laws, but no fetters. Lastly, it is to be
observed, that the reproductive artist must have a
clear understanding himself, of what he intends to
express, and how he will do it. He must have made
the piece entirely his own, as it were, must remain
true to its character, both in conception and ren-
dition, and be able to illustrate both, with the most
refined taste and elegance. Therefore, the re-
productive artist should possess at least enough
musical education to enable him to read a piece from
score, in all its harmonic and melodic significance.
Without this knowledge he may, perhaps, rank as
a gifted amateur/ but he will never merit the name
of musician and artist, in the strict sense of those
words.

Chaffer VIII.

Explanatory Remarks on Breathing.

Breath is to a wind instrument player, what the
bow is to a violinist. It follows that its proper
iijmanagement and manipulation is of the greatest
importance.

The first rule as to this point is that the breathing
should be regulated according to the length of the
passage to be played; the player should take so
much breath as to enable him to continue with ease
till the next breathing place comes; under no cir-
cumstances must he try to continue playing until his
breath fails entirely; this would exhaust him so
completely that it would be impossible for him to
blow the subsequent passage with sufficient steadi-
ness.

The question as to when breath should be taken,
may be answered very definitely. Music consists
of periods, and these again of many phrases; at the
end of such a phrase breath should be taken afresh.
In this work the taking of breath is indicated by
the sign as in the following example, in which
that sign marks the end of a phrase, corresponding
with the slurs.

jrr ii" r irTTrVn

Again: breath may always be taken after a tied,
or a longer dotted note: for example:

Moderato

and before any tone on the unaccented part of the
bar:

Adagio

moreover, in quick runs, after the highest or lowest
note aimed at by the run, or after the first note of
the bar, or just before the last note, as in the follow-
ing examples:

Allegro

Allegro

or Allegro

or Allegro

Between the last note of a bar and the first of the
next one, breath may be taken only when the musical
phrase ends on the last note of the bar, and a new
phrase, or the repetition of the former one, begins
with the new bar. Of course the phrases spoken of
here, cannot begin on an unaccented part of the bar,
as this would involve an evident contradiction. In
the following example the places for taking breath
are correctly indicated:

g f « •	£	■ .flip m,m_ 1	-  * :	0 l.#|-f2!  :=t=z^zf J |  P fi
-ST----- ■ —				whereas, by taking breath in the following manner:

the meaning of the musical phrase is completely
changed. In consequence it will be most apparent
how important it is to take breath properly, and how
much it contributes to the clearness and intelligi-
bility of refined and musical interpretation. There-
fore, in all rules for taking breath, the following
point must be strictly remembered, viz:—that the
musical phrase must be kept intact, and that,
whenever it is absolutely necessary to interrupt a
phrase by taking breath, it should be as rarely as
possible at the beginning of a phrase.

On no condition, should breath ever be taken
immediately a ter a leading tone or immediately
before a trial note. Therefore, taking breath as
indicated in the following example would be utterly-
wrong and unmusical:

I repeat the advice, to be very careful about taking
breath between two bars, as nothing appears so
bungling as a mutilated phrase and an irregular
manner of breathing.

As already mentioned, I have indicated the
places for taking breath in the course of this method,
most accurately by the sign, t* for the special
guidance of the pupil. I might add, that for the
sake of greater expressive freedom, more frequent
breathing may be indulged in, especially in passages
requiring impulsive or intense feeling, special ex-
amples of which will be found in this school.

Chapter IX.

Technic.

THE purpose of technical study is to enable
the player to master the important needs
of his instrument, such as beauty and purity
of tone and facility of execution in every detail.

While this study must be pursued under different
conditions on different instruments, yet the essen-
tials of a thoroughly developed technique are sub-
stantially the same on all instruments, and the
purity and beauty of tone-production, as well as the
independence of the fingers, must be developed so
completely that the player will be enabled to cope
with every possible requirement he might chance
to meet.

There is scarcely another instrument which re-

quires so much care and attention in regard to tone-
production as does the Clarinet; with incompetent
playing, its tone can become positively vulgar, while
in the hands of an accomplished artist, the human
voice can be imitated with astonishing perfection.
However, the highest degree of finger-dexterity is
of no avail without beauty of tone, as tone is the
means through ^yhich the artist speaks to the hearts
of men, the fingers merely serving as mechanical
appliances for changing the pitch. The cultivation
of technical proficiency on the other hand, must also
receive its full share of attention, as without complete
development of finger dexterity, no artist can ever
hope to master the instrument in its every detail.

The majority of great composers of the past were
also great virtuosi on some instrument and there
can be no doubt that this circumstance had great
influence on their works. The foundations of
technic, as of everjrthing else, must be laid with care
and diligence; the weaker and less tractable fingers
must be exercised in such a manner as to strengthen
them and render them obedient to the will of the
player. A number of exercises for this purpose are
found in this work. We have already alluded to the
influence of natural talent. But without serious
study, even the most gifted will never succeed as
they should, for only continuous and unwearied
application has produced great players and great
works. True merit consists, not in genius or talent,
but in diligence. Therefore, the student should en-
deavor in every way to perfect his technic, regardless
of criticism which may accuse him of developing
his virtuosity for the sake of sensational ends alone.
Undoubtedly, he who has no higher aim in attaining
virtuosity, than to astonish the multitude or for
monetary gains, hardly deserves to be classed among
artists. But to him who unites a highly developed
technic with musical understanding, to whom
virtuosity is but a means, enabling him to give free
rein to his genius and fancy, to him the highest
prize will be awarded, in spite of criticism, owing
to the delight and satisfaction he will always be
able to arouse through means of his technical
facility and artistic interpretative powers.

Chapter X.

Additional Remarks as to the Necessary Re-
quirements of Clarinet-playing;

Tone Production on the Reed

WHOEVER intends devoting himself to play-
ing the Clarinet should be positively certain,
that he possesses sufficient will-power
and endurance for mastering this difficult instrument.
The bodily requirements are; good health, a strong,
' sound chest, and good teeth (the front teeth at least
must be in good condition.) The intellectual re-
quirements are: geniality appreciation of the beau-
tiful in art, capability of enthusiasm, a delicate
sense of tone and a good ear, impartial criticism and

Uijust valuation of one's own performances, acknowledg-
ment and appreciation of the merits of other artists
and a determination to persevere in perfecting one's
art to the utmost of one's ability.

We have already spoken of the necessity of a noble,
beautiful tone. The tone is beautiful, when it has a
full, vibratory, metallic, clear sound, and retains its
character in all ranges and shadings; when it does
not lose its beauty, nor have a sharp, cutting effect
in fortissimo, and is so susceptible to expression and
modulation as to be applicable with ease to the most
delicate passages, and will allow passing with perfect
smoothness from one tone to another,—in a word,
when it resembles a full, beautiful soprano voice.
If this register (which is the finest on the Clarinet;
is beautiful, the lower tones will also be necessarily
good. But even if the tone possesses all these
properties, yet lacks that peculiar property, "the
soul/' all else will be of no avail. As in the case
of every other instrument played with a mouthpiece
of cane, everything depends upon a good reed, and
this is a most important point about a Clarinet.
Without the good will and humor of this tyrant the
greatest artist is but a tyro on his instrument,
painfully, yet vainly striving to produce effects.
In fact, the greater the artist, the more keenly he
feels his dependence on the excellence of his reed.

In conclusion, I shall add a few remarks as to the
preparation of a reed according to my own methods
and as I have found same necessary for my own uses.
In spite of all efforts to find a better material for
the reed, we must always fall back upon that which
was used from the very beginning, caney the best
quality of which, for our purposes at least, grows in
the south of France, Africa and Italy. The cane
varies in quality; sometimes it is softer; sometimes
harder, sometimes of coarser, sometimes of finer
fibre. In my opinion, a clarinet-reed is best:
Firstly, after having been thoroughly dried for years,
it has remained sound and not become too hard,
(since to render it serviceable in such quality it
would have to be made so thin, that the tone would
be very piercing); secondly, when the pores are
delicate and closed, when the weed, on cutting,
shows a fine olive and golden yellow color, and when
if striking the whole joint on some hard substance
it will easily give out a clear tone. Such a joint is
then to be taken and split lengthwise, somewhat
wider than the face of the mouthpiece and cut to
the required length of the reeds with a fine saw.
Then, with a sharp knife, the inside hollow part
of the wood is to be cut tolerably level. Herein
particular care must be taken to cut in such a way,
that the pores run straight, from one end of the piece
to the other; this can be the case only with a piece
which grew straight, and s ich pieces generally make
the best reeds. Then the piece is to be reduced first
by a coarse, then by a fine file, to about the required
thickness. In order to obtain uniform thickness
in all reeds, a flat piece of brass or German silver had

best be taken, making an incision in it with a file
about the proper thickness of the reed, and using
this as a measure. If the reed has the approximate
thickness, examine very carefully, if the filed side
is perfectly level; this is one of the most essential
qualities of a good reed. By laying the reed on a
piece of thick plate-glass the inequalities may easily
be discovered. Such inequalities are best removed
by grinding the reed fine and even on a piece of
sandstone, somewhat more than a foot long and
from five to six inches wide, which has been ground
perfectly even. It is best to have several such stones
and to grind them one upon another, so as to ensure
a perfectly flat surface. The reed, made perfectly
òven and smooth, is now wetted with the mouth
and then allowed to dry; this is repeated till it
remains quite fine. Then, by means of the files and
afterwards of the sandstone, the piece of cane is
made to take the shape of the reed, according to
the lay of facing of the mouthpiece; for that purpose,
it is laid upon a small piece of wood planed perfect^
even, and somewhat wider, and perhaps again as
long as the piece of cane, and is again moistened so
as to adhere better to the longer piece of wood;
after this it should be held fast with the finger and
cut down towards the point, so that the length of
the cut of the reed is about a sixteenth of an inch
less than that of the cut of the mouthpiece. Then,
starting from the beginning of the cut, the reed
should be made thinner and thinner towards the
point and as evenly as possible on both sides; follow-
ing this, the cut should be made to run dòwn to
the point on as perfect a level as can be, with a fine
file, and the reed will then be finished in the rough.
The reeds (of which I generally prepare six or twelve
ac a time) are now moistened once more, laid on a
larger piece of plate-glass and kept there for eight
or ten days in a moist state by wetting them with
the mouth as soon as they get dry. This process
effects a complete closing of the pores, and thereby
facilitates the finishing of the reeds. After this I
cake the reeds from the glass, clean them thoroughly,
polish them on the sandstone once more and examine
by laying: them on the smaller piece of plate-glass,
as to whether the polished side has become warped.
This warping, as a rule, may easily be remedied,
but when it cannot be done, the reed ought to be
thrown away.

Having made sure that the reed is perfectly lcvely
it should be moistened and made to stick to a
window-pane, with the light striking through it
and any inequalities which may be visible should
be rubbed down with a piece of Dutch rush (equise-
tum or horsetail) also moistened.

The reed should then be laid on the mouthpiece,
to which it is tied by a string (I prefer this to a band
with a screw) and dried. If it is still too stiff, it
should be laid on the window again and rubbed
down, till it blows more easily. Further rules on
this point cannot be given, as everything dependson the greater hardness or softness, as well as on
the degree of porosity of the piece of cane from
which the reed is made.

I add some of my experiences; if the reed is too
thick at the point, the tone will be hard, or, as
clarinetists say, will not speak easily. If the lower
register blows hard, the reed usually has an extra-
ordinarily high compass, and has too much wood at
the beginning of the cut. If the reed is too thin
at the point, the tones are apt to whistle like a poor
violin-string; if too much wood is cut away at the
beginning of thè cut, the lower register loses its beauty
of tone. If the cane is soft, the reed should be kept
thicker throughout and the reverse, if the cane is

hard. Should the player find it impossible to sustain
the piano, the reed should be thinned out, if it is
strong enough, towards the point; sometimes, too,
it is well to try one's luck below the middle of the
reed. It is also to be observed, that, when a new
reed has been played for a day or two, it should be
polished ofF again on the back, as the pores will have
become visible again.

However, the obstinacy of this little piece of wood
often bids defiance to all precautions, and I hereby
wish all my colleagues the best of luck and a reed
which will last for a life-time.

—CARL BAERAI ANN.

«1List of the Principal Words used in Modern Music

With their Abbreviations and Explanations

A . .........to, in or at; a tempo, in time

Accelerando (accel.). Gradually increasing the speed

Accent.......Emphasis on certain parts of the measure

Adagio . ......Slowly leisurely

Ad libitum (ad lib.). At pleasure; not in strict time

A due (a 2).....To oe played by both instruments

Agitato.......Restless, with agitation

Al or Atla......In the style of

Alla Marcia . . . . In the style of a March

Allegretto......Diminutive of allegro; moderately fast, lively;

faster than andante; slower than allégro

Allegro.......Lively; brisk, rapid.

Allegro assai.... Very rapidly

Amoroso......Affectionately

Andante......In moderately slow time

Andantino.....Diminutive of andante; st rictly slower than an-
dante, but often used in the reverse sense
Anima, con { . . . . With animation
Animato J

A piacere......At pleasure : equivalent to ad libitum

Appassionato. . . .Impassioned

Arpeggio......A broken chord

Assai........Very; Allegro assai, very rapidly

A tempo......In the original tempo,

Attacca.......Attack or begin what rollows without pausing

barcarolle.....A Venetian boatman's song

Bis...... . . . Twice, repeat the passage

Bravura......Brilliant; bold; spirited

Brillante......Showy, sparkling, brilliant



rio, con......With much spirit

adenza......An elaborate, florid passage introduced

as an embellishment

Cantabile......In a singing style

Canzonetta.....A short song or air

Capriccio a ... .At pleasure, ad libitum

Cavatina......An air, shorter and simpler than the aria,

and in one division, without Da Capo

Chord........The harmony of three or more tones of

different pitch produced simultaneously

Coda........A supplement at the end of a composition

Col or con.....With

Crescendo (cresc.) . .Swelling; increasing in loudness

Da -or dal.....From

Da Capo (D. C.) . .From the beginning
Dal Segno (D. S.). .From the sign
Decrescendo(decresc.)Decreasing in strength
Diminuendo (dim.). Gradually softer

Divisi........Divided, each part to be played by a sep-

.	arate instrument

Dolce (dolj . . . .Softly; sweetly

Dolcissimo.....Very sweetly and softly

Dominant......The fifth tone in the major or minor scale

Duet or Duo . . . . A composition for two performers

Elegante '. ! ! ! ! ! Elegant, graceful

Energico......With energy, vigorously

Enharmonic . . . .Alike in pach,but different in notation

Espressivo.....With expression

Finale.......The concluding movement

Fine........The end

Forte (f)......Loud

Forte-piano (fp\. .Accent strongly, diminishing instantlyto
piano

Fortissimo (ff). . .Very loud

Forzando(fz>) . .Indicates that a note or chord is to be
strongly accented

Forza........Force or tone

Fuoco, con.....With fire; with spirit

Giocoso.......Joyously; playfully

Giusto........Exacts in strict t'irne

Grandioso......Grand; pompous; majestic

Grave........Very slow and solemn

Grazioso......Gracefully

Harmony......In general, a combination of tones, or

__	chords, producing music

Ktfy note......The first degree of the scale, the tonic

Largamente . . . .Very broad in style

Larghetto......Slow, but not so slow as Largo; nearly

like Andantino

Largo........Broad and slow; the slowest tempo-mark

Legato........Smoothly, the reverse of staccato

Ledger-line.....A small added line above or below the

staff

Lento........Slow, between Andante and Largo

Vintonso tempo. . .In the same time,(or tempo)

Loco.........In place. Play as written, no longer, an

octave higher or lower
M#.........But

Ma non troppo. . . Lively,.but not too. much so

Maestoso......Majestically; dignified

Maggiore ..... .Major Key

Marcato.......Marked

Meno........Less

Meno mosso . . . .Less quickly
Mezzo........Half; moderately

0 31

Mezzo-piano (mp) . Moderately soft
Minore.......Minor Key

Moderato. .... .Moderately. Allegro moderato, mod-
erately fast

Molto........Much; very

Morendo ...... Dying away

Mosso........Equivalent to rapid. Più mosso,quicker.

Moto........Motion. Con moto, with animation

Non.........Not	.	.

Notation...... The art of representing musical sounds

by means of written characters
Obbligata . .... An indispensable part
Opus {Op.).....A work.

Ossia........Or; or else. Generally indicating an

easier method
Ottava (8^a). . . .To be played an octave higher
Pause (/TN). . . .The sign indicating a pause or rest.

Perdendosi.....Pyi^g away gradually

Piacere, a.....At pleasure

Pianissimo (pp) . . Very softly
Piano (p) .... .Softly

Più.........More

Più Allegro .... More quickly
Più tosto......Quipker

Poco or un poco. .A little	,

Poco a poco. . . .Gradually, by degrees; little by little
Poco più mosso . .A little faster

Poco meno.....A little slower

Poco più......A little faster

Poi.........Then; afterwards

Pomposo......Pompous; grand

Prestissimo . . , .As quickly as possible
Presto ........ Very quick; faster than Allegro

Primo (L™o). . . . The first

Quartet......A piece of music for four performers.

Quasi........As if; in the style of

Quintet.......A piece of music for five per-
formers

Rallentando irall.) Gradually slower

Replica.......Repetition. Senza replica, without

repeats

Rinforzando . . . .With special emphasis
Ritardando (rit.) .Gradually slower and slower

Risoluto......Resolutely; bold; energetic

Ritenuto......In slower time

Scherzando. . . . .Playfully; sportively
Secondo (2*9) . . .The second singer, instrumentalist or
part

Segue........Follow on in similar style

Semplice......Simply; unaffectedly

Senza........Without. Senza sordino without mute

Sforzando (nf). . .Forcibly; with sudden emphasis
Simile or Simili. .In like manner

Smorzando (smorz)Diminishing in sound. Equivalent to
Morendo

Solo....... . .For one performer only. Soli; for all

Sordino......A mute. Con sordino, with the mute

Sostenuto......Sustained; prolonged.

Sotto........Below; under. Sotto voce, in a subdued

tone

Spirito.......Spirit, con Spirito with spirit

.Detached; separate
.Dragging or retarding the tempo
.An increase of speed./tó stretto faster
.The fourth tone in the diatonic scale
. Change of accent from a strong beat
_	to a weak one.

Tdcet........Is silent" Signified that an instrument

or vocal part, so marked, is omitted
during the movement or number in question.

Tempo........Movement; rate of speed.

Tempo primo . . .Return to the original tempo.

Tenuto {ten.) . . . .Held for the full value.

Thema or Theme . .The subject or melody.

Tonic . .......The key-note of any scale.

Tranquillo.....Quietly.

Tremolando, Tremolo A tremulous fluctation of tone.

Trto.........A piece of music for three performers.

Trtplet.......A group of three notes to be"performed

m the time of two of equal value in the
regular rhythm*

Troppo.......Too; too much. Allegro, ma non troppo,

not too quickly.	**

Tpttt........All; all the instruments.

un..........A, one, an.

Una corda.....On one string.

Yariatione ..... The transformation of a melody by means
of harmonic, rhythmic and melodic changes

Spt

staccato
Stentando . . . .
Stretto or stretta.
Subdominant. . .
Syncopation . . .

........aspirai8-

Vidrato.......A wavering tone-effect, which should br

Fivace . ......A^ith	bright; spirited

Folti'Subito K 's: :fcn^VerP quickly.2

RUDIMENTS OF MUSIC.

Before the student can commence te* play any Instrument it is necessary that he should be ac-
quainted with the rudiments of musical' Notation.

The signs, which indicate pitch and duration of a musical sound, are called* Notes figured

thus: o J j jo.t3 etc.

They are named after seven letters of the alphabet; C. D. E. F. G. A. B. and are written on, be -
tween, above or below five parallel lines, '	called the Stave, the names of which are deter -

mined by Clefs, placed on different lines.

is used, which is placed on the second line.

For this instrument, only the treble or G clef

È

$

The names of the notes on the five lines are



E G B D F

of the four spaces
between the lines

:lt

=: of the two above and below the lines ife



FACE	D

These eleven notes are insufficient to indicate the full compass of Sounds in use.

Ledger lines have therefore to be added, above and below the stave in order to signify higher

B C

and deeper sounds.

D E F

G A

Notes -of the ledger lines above the stave
Notes of the ledger lines below the stave

A B £ £ £ £

stave

STj 4 4 è

B A 6
FULL TABLE OP ABOVE NOTES.



A A A J J J

? ? B C -D 11

f

E F. G A

C DEF G ABCDEF G AB C

à

G A

DURATION OF NOTES.

Notes may be of longer or shorter Duration which is shown by tne peculiar form of each tiote.
Forms of different notes.

22:

m

p



P

Whole note; Half note; Quarter note; Eighth note; Sixteenth note; Tkirtysecoìid ito te

Several of the latter three specimens
combined may also be wrritten thus:

Eighth notes; Sixteenth notes; Thirty seco ltd notes.

1834-1143

COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES.

A Whole note
or

2 Half notes
or

4 Quarter notes
or

8 Eighth notes
or

iff Sixteenth notes
or

32 Thirtysecond notes.

3E

/1

11 v.

■f- ~v~

E



m m

-i-%-i-V-

-%—#—\—f--

-

-4-f-*-1-V-

r f r f r r r f r m	f £,f,f„£,r r f,E

BARS.

Notes are systematically arranged into bars, marked by one or two lines drawn across the stave.

E is placed after each bar and each bar contains the same number or value of notes,

One line

and each bar must last precisely the same length of time. The end of a part of a composition is marked
with two lines or a double bar, and if either two or four dots are found by the side of the double

bar thus: :||* the whole part from the preceding double bar, or if there is no earlier double bar
then from the beginning of the piece is to be played again. This is called a Repeat.

RESTS.



Half rest; Quarter rest ; Eighth rest; Sixteenth rest', Thirtysecond rest ;

Whole rest;

Whole rest;

DOTS.

A Dot placed after any note or rest increases its value one half, thus:
is equal to

-7"
22=

P

or

to



or

3^

Two dots placed after a note or rest increase its value one half and a quarter or
1834-114

3013-

22=

to
like



		
	v,	
		n
		±?

etc.

etc.

176004

TRIPLETS, DOUBLE TRIPLETS AND &ROEP.

Triplets are marked by a 3 being- put over a group of three notes. Double Triplets are marked

by a 6 being put over a group of six notes. Three quarter notes marked .thus

must be

played in the same time as two quarter notes

not so marked; or six eighth notes

in the time of four eighth notes 1 r f r r I not so marked. There are also groups of five I f Tpf

and nine notes

seven

etc.

TIME.

In order to know how many quarter notes, eighth notes or sixteenth notes a bar contains, spec-
ial figures are placed at the beginning of a movement.

Common Time.



Three-four Time.

i

Ttvorfour Time.

$



Contains four quarter notes or the
same value in longer or shorter
notes or rests, and four(l, 2, 3,4,)
must be counted in a bar.

Contains three quarter notes or
the same value in longer or short-
er notes or rests, and three (1,2, 3,)
must be counted in,a bar.

Contains two quarter notes
etc., and two(i, 2y) must
be counted.

TABLE OF TIMES.

Single Common Times. Compound Common Times. Single Triple Times. Compound Triple Times.



i



m

or 4-



i

or K or %















XSI

E

When a line is drawn through t^e C thus: <£, which is called àlla breve, two is counted in a bar.

1834-114
2012-

17500SCALES

The ladder-like succession of eight sounds, starting from any note and ascending or descend-
ing by tones and semitones in regular order, is called a Scale, and each note of a scale is called
a Degree-

Between these eight degrees there are seven intervals or distances, five of which ^.re tones,
and two semitones.

There are two principal kinds of Scales, termed Major and Minor, whose ascension or des -
cension is diatonical: i.e. in tones and semitones, and a third kind, whose ascension or descen-
si on is chromatic: i. e. only in semitones.

For the oresfent, only the Major scale will be aiscussed. In the Major scale the semitones
are situated between the third and fourth and the seventh and eighth degrees of the scale.

EXAMPLE.

| tone	| tone	| semitone	J tone	| tone	tone	I semitone 1 1 1

è



è

/ist degree^ / zkA\ j 3r.d\	/ 4**1 \ j 5t-h\ / 6t.h\ j 7th\	j 8th\

Each diatonic scale derives its name from the name of the note on the first degree— or the root.

There are twelve major and twelve minor scales; but not to burden the student with their com-
bination at present, only the scale of C major will bè given.

The distance from one note to another is called an Interval. Two notes placed on the same de-
gree do not produce any interval, they are said to be in Unison.

The intervals are named: the Second, the Third, the Fourth, the Fifth, the Sixth, the Sev-
enth, the Octave, etc.

Degrees:
1

EXAMPLE.

4	«

£

6
è

7
£

É

Intervals: Second, Third,

Fourth,

Fifth,

Sixth, Seventh, Octave.

SHARPS.

A Scale may be formed on any note, but in order to produce semitones between the third and
.'ourth and seventh and eighth degrees in any other but the scale of C major, it is required
to employ certain characters, which raise degrees, or restore the pitch of any note in
the scale.

One of these characters is called a sharp($), which, when prefixed to a note raises it a
half tone.

The number of sharps employed in a scale depends upon which note, the scale is founded.
2398-98	175006

The sharps succeed each other in the following order:
1-	2.	3.	4.	5.

F sharp, C sharp, G sharp, D sharp, A sharp, E sharp, B sharp.

Thus it will be seen that if one sharp is employed it must be prefixed to F, consequently all F's
in that piece must be raised half a tone. When two sharps are employed all F's and C's mustbe
raised, and when three sharps are employed all F's, C's and G's must be raised and so on.

Table of Signatures of Sharp Keys.

Number of Sharps: 1

Names of the Keys: G

E

B

n

c#

FLATS.

A flat(b) prefixed to a note lowers it half a tone. The flats succeed each other in the following order:
1-	2-	3.	4.	5.	6.	7.

B flat,	E flat,

Aflat,	Dflat,	O flat,	C flat,

F flat.

The same rule concerning signatures as with sharps is to be observed here.

Table of Signatures of Flat Keys.

Number of Flats: 1

Names of the Keys: F

2398-98	175007

THE MINOR SCALES.

Every major scale has its relative minor, the root of which is to be found on the sixth degree
of the major scale. Both scales bear the same signature. There are two kinds of minor scales,
the harmónic and the melodic form.

THE MELODIC MINOR SCALE.

The ascending of the melodic minor scale differs from the descending, the former having its
sixth and seventh degree raised by accidentals not essential to the key. In the ascending, semi-
tones are situated between the second and third and the seventh and eighth degrees, and in the
descending between the sixth and fifth and the third and second degrees.

SCALE OF A MINOR.

Without Signature; Relative to C major.

I tone I semitone I tone I tone I tone I tone „ I semitone 1

»r > r a

I*



jS-t degree I \2™\ |3rd| |4th| [ gth| |6th| |yth| |8th|

I tone , I semitone I tone I tone I tone I semitone I tone I

■f-£—IE





1 8th | | 7th | 16th | 15th | |4th| |a,rd| |gnd| [ jst |

I

TABLE OF MINOR KEYS WITH THEIR RELATION TO MAJOR.

A minor E minor B minor F# minor C# minor G# minor D# minor A# minor

*

*

#

ti

*

U

i

te

te

m

i

C major

G major

I-

D major
*

A major

E .major
ÉÌ=

B .major

m

Ft major

te

C# major

te

m

i

D minor  & y -	G minor  1	C minor  "A--	F minor  -fcM>-	B!» minor  Ak—	El> minor  JvKh	Al» minor  J'i k k -
ST  F major £ t> —	V  Bb major  -	r/ Ir  El> major "bh-	v [/  Al> major  -	^ b p-  Dl> major  J'i k --	JLJL#-  Gl> major  JjVk-f»-	9 V \> \,--  Cl> major  ■A k k "--
'fr i	1/	['	" 1>---	9 v b-	V 17 Y- --	--

m

THE HARMONIC MINOR SCALE.

The Harmonic Minor Scale differs from the Melodic, as only its 7tJ1 degree is raised by an
accidental, which remains, whether ascending or descending.

SCALE OF A MINOR.

3

"r i r i»r

m



n



?

ls-t dèg:

ree

2nd

3rd

4th

fit)1

6th

7th

8th

7th

6th

5th

4th

3^

3n.d

1st

8037 — 99 175008

THE NATURAL

In order to restore a note which has been raised by a sharp H or- lowered, by a flat a
Natural tj is employed which restores it to its natural pitch.

3É

Thus



F raised by a sharp is restored by the natural

to its original sound,

or

É

£

B flat to

É

B natural.

THE DOUBLE SHARP x.

By prefixing a double sharp x to a note the same must be raised a whole tone.
Thus F double sharp

will sound like G natural

THE DOUBLE FLAT M?.

A double
(double flat)





bW,

THE PAUSE

A Pause placed over a note, means that the note can be sustained to an indefinite length
at the performer's pleasure; the counting "being interrupted.

	gititi. , !	f4=	w	n\			m •	ns  r—n—			m	#—j	m		m—  —	m—			r\  —-H
4	i J	m			L—m				m									rj r	—^—H

THE CHROMATIC SCALE.

Consists of a succession of semitones, which, in ascending are designated by sharps, and
in descending by flats.

Thus:

etc.

J hJ J aJ J <1^ i* r ttr f

=*

A A	JPJ J J"

*%

~ ''f f f ^ # v

f f rY r V r r'r r^r r ry JU

etc.

3027-1189

ABBREVIATIONS.

Abbreviations are employed in written music to avoid repetitions of a single note or passage.

;éi

Thus instead of writ- —Ù__ a half note marked

ing four eighth notes

with a thick line:

will indicate the same.

Or

§ I I M rrrrl

or

for

or

for

and

tmm

for

Or instead of repeating a bar alike
a sign marked thus '/ is used



etc.

etc.

TRANSPOSITION OF THE KEYS.

When C is taken as 1, the scale or key is said to be in its natural position; but either of the
other letters may be taken as 1, in which case the scale is said to be transposed. As 1 is the
basis of the scale, the foundation on which it rests, so the letter which is taken for this sound
is called the Key-note. Thus, if the scale be in its natural position, it is said to be in the key
of C; if G be taken as 1, the scale is in the key of G; if D be taken as 1, the scale is in the
key of D; and so on with the rest of the seven letters; which ever letter is taken as 1, that letter
becomes the key-note of the scale.

In transposing the scale, the order of the intervals or tones and semitones, must be preserved.
Thus, the interval must always be a tone from 1 to S, a tone from 3 to 3, a semitone from 3 to
4, a tone from 4 to 5, a tone from 5 to 6, a tone from 6 to 7 and a semitone from 7 to 8. The in-
terval from one letter to another letter is also the same and cannot be changed,_thus it is al-
ways a tone from C to D, and from D to E, a semitone from E to F, a tone from F to G, from G
to A, from A to B, and a semitone from B to C. In Che transposition of the scale therefore it be-
comes necessary to introduce sharps and flats, or to substitute sharped or flatted letters for the
natural letters, so as to preserve the proper order of the intervals.

First transposition by sharps from C to G, a fifth higher, or a fourth lower.

jr ...... —							\	1
A						ft		I
f(T>				e*	**			I
-¥K---	—j—g—	-e-	o				\	1

First transposition by sharps from C to G, a fifth higher, or a fourth lower.

E

G

B

1

C

ÉÉ

»
D

E

G

3E

B

-o-

□cc

1

G

2
A

3
B

4

C

5
D

6

E

7

F#

8
G

The same method is followed in the transpositions by sharps, viz: the fifth above or the fourth
below is taken as 1 of a new key in every succeeding transposition and an additional sharp will
be required in every succeeding transposition.

To transpose the scale by flats, we take the fourth (instead of the fifth) of every new scale.
F is the fourth of C; hence it is 1 of the new scale (key of F.) The order of intervals must be
the same in the flat key as in the sharp; hence the B must be made flat.

8037-11810

Transposition by Flats from C to F, a fourth higher or a fifth lower.

É



wm



6



?

zzz

6

DIFFERENT SHADES OF TONE.

p means: piano, soft.

pp means: pianissimo, very soft.

f means: forte, loud.

means: fortissimo, very loud.

mf means: mezzoforte, moderately loud.

cresc. or	means crescendo, increasing1 the sound.

dim. decresc.oTZ==— means diminuendo, decrescendo, diminishing the sound.
sf> rf or > means sforzando, rinforzando, sharply accentuated.

fP means: forte -piano, loud and immediately soft again.

GRACES, EMBELLISHMENTS OR ORNAMENTS OF MELODY.

THE APPOGGIATURA.

The appoggiatura is a grace note placed above or below a principal note. When it is placed
above, it is always at the interval of either a tone or a semitone. When it is placed below the
principal note it should always be at the interval of a semitone. When the appoggiatura is

written so

the value of it is one half of the following note.

When crossed by a small line, thus

;|jl

m

its value is but one fourth of the note that
follows it.

EXAMPLES.

Written thusr j
Played thus: I

Jpiy~r	n

233=





r i r7r * i r?cfi r > r i r~r j i crc^P

There is also a double appoggiatura which is com- Written thus:)
posed of two grace notes placed: the first,one degree be- EXAMPLE.<
low the principal note, and the secondane degree above. p^a

j* r -rJ ig

3027-118

$ *' [ffr11

THE GRUPPETTO OR TURN.

Is composed of three grace notes placed between or after a principal note.The turn is marked
thus: c»._A small shai'p placed under some of the signs thus: ^ indicates that the lowest of the
three grace notes is sharpened^ Should the sharp be placed above the sig-n thus the upper

H

grace note must be sharpened-, or in case of a sharp above and jbelow the sig-n ®j&, the upper and
lower grace note must be sharpened. The same rule applies to flats, only that the grace notes
must be lowered half a tone in that case.

EXAMPLES.

As written.
A.S played.

I

With sharps and flats.





THE PASSING SHAKE.

The passing- shajte, ctften written thus-w, must be played quick and round in the following-man-
ner:

As written.

As played.

Pèééié

V »r r d/r,,-r rM

THE SHAKE.

The shake or trillo, marked thus 1r consists in the alternate repetition of the note marked,with
the note in the next degree above it.

EXAMPLE.

As written.!

As played.

Chain of Shakes

tr-

\M p . " r H		rf—:-—n		
	• m 0—P-	—0.—^—0.—l_l—pi—El_	p f p f	r T r p

As written.!

As played.

8087-118Gustave Langenus

Six Easy Solos

FOR

Bb Clarinet

with

Piano Accompaniment

1. In The Forest (W1449)............. ||

Range

f

2. Lullaby (W1450).................... & ,

tJ -±

3. Mount Vernon Menuet (W1451). . .. ^ ^	^

4. .Donkey-Ride (W1452).............. l> i '

f

5. Chrysalis (W1453)............-..... ^ ^ i « p ^

6. Scale Waltz (W1454)................

ÌE

.60
.50
.50
.50
.50
.50

CARL FISCHER, INC.

COOPER SQUARE, NEW YORK 3
Boston • Chicago • Dallas • Los Angeles

W-26







































































<







































'









.









-

\





































UNIVERSITY OF ILLINOIS-URBANA

3 0112 076633053







gta

VlllU°5°

METHODS

by

GUSTAVE

LANGENUS

for the CLARINET

PRACTICAL TRANSPOSITION

for

Clarinet • Flute • Trumpet (Cornet)
Saxophone • Violin
and

Other Instruments in the Treble Clef

Transposition, once considered a difficult art, can be learned
from this work within a few weeks. The method explained here
is the one used in the principal conservatories. It includes
study of all Major and Minor keys, Augmented and Diminished
Intervals, and Enharmonic Transposition.

Price $1.25

MODERN
CLARINET
PLAYING

A Method especially written for
players contemplating a change
from the old to the Boehm System,
and designed as a work of reference
for advanced players. It contains a
table of fingerings for the Boehm
Clarinet, studies in Major and
Minor keys, chromatic 6tudies in all
keys, an abridged table of trills,
extracts from famous classic and
modern works, and nine special
studies. Can be used for self-in-
struction.

Price $2.50

CARL FISCHER, INC.

COOPER SQUARE, NEW YORK 3
Boston • Chicago • Dallas • Los Angeles

Prices Subject to Change Without Notice

(L) Printed in U.S.A.This book is a preservation facsimile produced for
the University of Illinois, Urbana-Champaign.
It is made in compliance with copyright law
and produced on acid-free archival

60# book weight paper
which meets the requirements of
ANSI/NISO Z39.48-1992 (permanence of paper).

Preservation facsimile printing and binding
by

Northern Micrographics
Brookhaven Bindery
La Crosse, Wisconsin
2019