LEVEL THREE (ADVANCED INTERMEDIATE) Lnrinet Grit Robert Louny ta collaboration with James Ployhar To the Student Level Ill of the Belwin “Student Instrumental Course” is a continuation of Levels I and II of this series or may be used to follow any other good intermediate instruction book. It is designed to help you become an excellent player on your instrument in a most enjoyable manner. It will take a reasonable amount of work and CAREFUL practice on your part. If you do this, learning to play should be a valuable and pleasant experience. Please see the top of Page 4 for practice suggestions and other comments that should be very helpful. To the Teacher Level Ill of this series is a continuation of the Belwin “Student Instrumental Course”, which is the first and only complete course for individual instruction of all band instruments. Like instruments may be taught in classes. Comets, Trombones, Baritones and Basses may be taught together. The course is designed to give the student a sound musical background and, at the same time, provide for the highest degree of interest and motivation. The entire course is correlated to the band oriented sequence. Each page of this book is planned as a complete lesson, however, because some students advance more rapidly than others, and because other lesson situations may vary, lesson assignments are left fo the discretion of the teacher. To make the course both authoritative and practical, the books in Level III are co-authored by a national authority on each instrument in collaboration with James Ployhar. The Belwin “Student Instrumental Course” has three levels: elementary, intermediate and advanced intermediate. Each level consists of a method and two or three supplementary ‘books. Levels II and III each have four separate correlated solos with piano accompaniment. The chart below shows the correlating books wailable with each part. The Belwin “STUDENT INSTRUMENTAL COURSE" - A course for individual and class instruction of LIKE instruments, at three levels, for all band instruments. METHOD “The Bb Clarinet Student” For Individual or Bb Clarinet Class Instruction. EACH BOOK IS COMPLETE IN ITSELF BUT ALL BOOKS ARE CORRELATED WITH EACH OTHER ALTHOUGH EACH BOOK CAN BE USED SEPARATELY, IDEALLY, ALL SUPPLEMENTARY BOOKS SHOULD BE USED AS COMPANION BOOKS WITH THE METHOD STUDIES AND MELODIOUS ETUDES ‘TUNES FOR TECHNIC CLARINET SOLOS. Spplementary, sales, warm- Technical type melodies, var- Four separate correlated ep and technical drills, musician- fations, and “famous passages” solos, with piano accor ship studies and melody-ike from musical literature for the ment, written oF by etudes, al carefully correlated ‘development of technical dexter- RobertLowry: with the method. ity, Prelude .. Melody. Paderewski Lacia di Lammermoor ceeeeeesses DonizettiCLARINET FINGERING CHART How To Read The Chart ‘Indicates hole closed, or keys to be pressed. © Indicates hole open. When a numer is given, refer to the picture of the Clarinet for edditional key to be pressed. When two notes are given together (ex: F# and Gb ), they are the seme tone (enharmonic) and, of course, played the same way. When there are two or more fingerings for @ note, use the first one notated unless your teacher tells you or the music dictates otherwise CHART CODE i Chr. Indicates that this fingering is the smoothest and best in a chromatic passage. ZF A“False fingering” indleating that the tone quality or intonation may bea bit faulty. It wil, however, be useful in & very rapid passage when a smooth technic becomes more important than absolutely perfect pitch. Tr. This designates @ fingering that may be a bit false, but will be very practical for tril Ror L Tells you which “Right or Left” litle finger is involved for the particular fingering RHD The abbreviation for “Right Hand (fingers) Down”. This will add more resonance to your tone in the throat register = and simplity technic over the register break. L The common abbreviation for low Eb or high Bb when the frst finger of each hand (plus the left thumb) isto be used. Fe and ch ota ah At tb 8 == Sj we = be Woogie { ‘i oe =) se og Boogads |||" Hoooiode Hoo: z ce cH and 0b 0 Band eb ieChart Of Basic Trill Fingerings Refer to page 40 for trill interpretations. Hold F Hold E Hold F Hola Fe key down, key down. key down, key down, Hold Gt Hold GE key down, key down, key down, : om a? Hola cB Tr. side Tr. side Hol side Hold side key down. vey 6 key. key 6 down. key 6 down. (optional) Tr side Tr side Tr. Ge Play che. FR Tr. side kos 86 keys BW key 2 TrGhkey 2 haga Trside Hold ¢ Hold 8 Hola ¢ keys"X&Y", keydown, key down, key down, _s a oh. Hoa Fa Hola ot Teint Tresde down Keydown, finger ev {options lft hend oe ce oe oe SB Te Hold side Play Bb Te. side Tr.side Tre side Tr.second Tr fist key 6.down. with key 3. keysS&6 keys 5 U6. key "Y", finger finger reside Fight hand, right hand.A Few Important Practice Suggestions Set a regular practice time and make every effort to practice at this time. 2. The answer to how much time should you practice simply depends on how good you want to be. 3. Most important, ALWAYS practice carefully. Careless practice is a waste of time. Analyze each study to detect the problems, then learn to play each measure exactly as written. 4, ALWAYS use 2 good reed, When it is nicked, split or damaged in any way it should be discarded as it can’t respond for the best of tone quality. 5. The clarinet (and especially the mouth piece) should always be clean and i oiled; all keys working smoothly and in good adjustment. g00d playing condition. Corks lubricated; mechanism 6. The development of careful and correct playing habits is essential if you are to become a fine player. chure and body position — all are absolutely necessary for the best results. The goal is to accompli relaxed manner, "Avoid muscle tenseness except for a firm embouchure. 7. COUNT AT ALL TIMES. Proper hand, finger, embou- all of this ecordination in a Daily Warm-Up Studies The lines below are suggestions for you towards building 2 routine of daily warm-up drills. Each day, we find it beneficial to review ‘for beauty of tone, a clean, controlled articulation and technical facility. These studies should precede and supplement your regular lesson assignment." Undoubtedly your teacher will suggest additional warm-up exercises as you progréss Long Tones Use 2 complete, full breath for each note. o s mo g = a P= f>—= ‘Maintain good intonation while making the dynamic changes. Articulation Technic Play this pattern on each step of a major scal 8 z i zs 38 3 Choose a different scale each day. ‘Make sure that the changing note values sound with the same, good tone quality. Chromatic Scale Occationslly, drill on only one octave ofthe scale stopping at the fermates (/)_ aMusic Notation Abbreviations Abbreviations in music notation are intended to simplify and save space. This sign % is used to 2 This sign % is a double repeat and tells us to repeat the two previous measures icate a repetition of the previous measure. Additional abbreviations will be demonstrated in the following studies. As written:Time Signature - Meter Review Any of the following note values may be designated as beat notes, Recognize also their relative rests as the counting of rests is ‘otten the barrier for many students in playing with a good rhythmic understanding, Common Possible but rarely used o Duple Meter Remember that the note value designated as the beat has nothing to do with the speed. Sometimes an eighth note can be slower er a half note. This depends upon the TEMPO marking. To develop flexibility, ply the following lines at steady tempos both Sow an e ===> == € isan abbreviation for & or Common time. 8 © is the abbreviation for & time (Alla Breve). Commonly called “cut-time””. ad wb D ° ab Triple Meter ty JJ ZS °e 5 Odd Meter 7s som0e = “ae ay “Uroe of cers 2 “easre Ex. 547.8). Many contemporary composers employ the ODD METER. pre syputres a5 2 ora Te ea art, 2 3. “Bt > Commor cups and triple meters. You will encounter examples of odd peer Sroges Trae Se meer Soo oeAltissimo Register Review The Clarinet Registers Va ‘The higher notes on any instrument tend to penetrate and are heard more distinctly by the listener, Therefore, it is even more important that we learn to control the altissimo (high) register for good tone and intonation, 1 Chalumeau The altissimo register is more demanding in both breath support and embouchure firmness. So that incorrect habit patterns won't develop, don’t practice the high notes past the point of fatigue. However, since your regular diet of playing will never call for an equal Percentage of high notes, it is advisable to specialize on some altissimo dill in your deily private practice. ‘As you practice the following study, keep these points in mind. 1. You must push the air faster for the higher notes. 2. In playing the intervals between the clarion and altissimo registers, your first finger (left hand) should roll or pivot down and away from the tone hole. To lift the finger abruptly will destroy the smoothness of the slur. 3. From high D and on up in the altissimo register, the litte finger must open the right hand Eb key for better tonal response and intonation, 4, And let's repeat — Keep thinking more speed of air for the altissimo notes, o a Relate your high note fingerings to the ones you already are becoming familiar with in the lower registers. Memorize the following finger patterns. With every day perseverance, see what speed you can attain while still maintaining an even and precise finger action, Chalumeau Register. OE *Use the side fingering (key ‘Clarion Register. Same 9 *Use the side fingering. | ‘Altissimo Register. Same finger pattern, Lift left index finger. & e “The high G will be fat in pitch if onty key 6 is used. With the same finger action, add key #5. This is tril fingering (from F# 10 G) that you wel! want fo remember. om. + or osScale And Arpeggio Study In C Major ever i A eee ee == ‘A Speed Study Q# te Semper Fidelis JOHN PHILIP SOUSA, March tempo (in two) °° If you have not already done 20, please se the book "STUDIES AND MELODIOUS ETUDES FOR CLARINET”, Level If, for more sale and technical studies that correlate with this Method Book It Scales And Intervals =~ +7 Allegro e Moderato (in two) This one should be fun to repeat for speed, Three Blind Mice Keep the basic melody in mind while playing this variation,A Minor Scales Harmonic form ‘Melodic form Etude In A Minor Chromatic Scale Study on oe ES ° ——— = S-P 2nd time The Index Finger In A Minor e ‘Keep right hand fingers down throughout. Minimize any left hand motion. Let your first finger do the work. NocturneBr eae t0e the book “TUNES FOR CLARINET TECHNI for more melodies that provide for further technical development. Around About In F Major Technic for Tonguing. Allegro {in one) Q ee Eighths To Triplets ‘Andante —==_ Believe Me If All Those Endearing Young Charms Watch the articulations °% And § Compared °o = ——— 3 —— posse ee ded rr Syncopation In The Clarion Register a2 & 6 = = Don't try for speed until you are certain about the rhythms. eae 7 —— ws = ee Rhythm Study Two Guitars GYPSY FOLK SONG13 Review thelist of correlated solo listed at the top of Page 14. These intresting solos were written specifically for this course and will enhonce the study of your instrument. We suggest that you supplement your lesson astignments with one ofthese solo a al times. D Minor Scales elodic form _ by Harmonie form o = “Over The Break” Study Vivace Qe ep the Right Hand Down on throat register notes. xo SS ea EE = —— —— $ Tempo Guisto (in one) Valse In D Minor FREDERIC CHOPIN 98 PF 2nd time Modulating * by 2 fee ben G —~ 4% Ff — SS = —_ —= §- —= * A modulation is the changing of key feeling or tonality. Swedish Folksong =— SO ETE TRADITIONAL, Andantino (D Minor) k 8 - SF SS — Sp14 Solo listing: A Festival Fantasia ~ Robert Lowry Prelude ~ Armas Jarnefeit Melody ~— /gnace Jan Paderewski Lucia di Lammermoor ~ Gaelano Dozizett G Major Scale Study LUDWIG von BEETHOVEN Allegro (in two) * e chr 7 S-P the 2nd time Turkey In The Straw TRADITIONAL Lively ° Your choice oF dynamics. ¥?16 Intervals And Scales In G Allegro va Tonguing Arpeggios In two, Qe mp cia Keep the staccato light. Don’t let it sound accented. Syncopation Study Risoluto In Thirds and Rhythms ° mp —————— ere Serenade ‘Andante cantabile FRANZ SCHUBERTE Minor Scales Harmonie form ‘Melodic form 0 Study In E Minor — a 5 raat Ted SS yy Yo ee oa ees ogee YY Sg “> wy, ao Scherzetto High Note Control Lento — ot a Major Scale And Intervals Study In E> Major Tempo di Marcia —", wr 4 chr. e <7 he, HD. ep a mathematical accuracy between dd and even eighth notes. Auld Lang Syne Cantabile od ROBERT BURNS ded 8 J24 Valse Impromptu FREDERIC CHOPIN z eg accel. Fo ee tanto ‘poco rit. Altissimo Tone Study Fér better intonation and response, remember to add your right little finger on the Es key for D and all notes above. (Not on C#..) Staccato For Speed Minuet prea a Tet eR . St Fm cantavite —== __>_ —- = —¥ ot. , eee ee a is J j “pee25 C Minor Scales Harmonic form Melodic Om be babes : en eet o gigi yt rey Study In C Minor ; oe = o giao fas aes ‘Andante in ™p Tongue in a legato style (lightly) so that you don’t create accents. Staccato for speed 8 SF-PP 2nd time JACQUES OFFENBACH Energetically i F JOHANN S. BACH26 Studies In A Major 3 soli Styria SWEDISH FOLKSONG iit Interval Study 9 Pf 2nd time The American Patrol MEACHAM Marciale mf BHO.27 Luisa di Montfort Theme (A Meter Mixture) MICHAEL BERGSON Andante ho eS? ——— ov vit, —— Pp vit. @ dim, PP Practice tii one so that you can give ad.the beat: and thedL.one beatin the 3/4 and 6/A sections, Chromatic Etude Q a Tonguing Eighths to Triplets St 33 3 Spanish Dance Alagro MORITZ MOSZKOWSKI 4 . kao, BS ee} * Refer 10 page 39 ‘or Groce 72:w i Harmonic form Melodie form Etude In F# Minor SSS A dot placed after a note adds one-half of its value. Two dots placed after # note will add one-half plus one-quarter of the principal note’s value As written, oh © | pied: : ' Principal note + + % Principat note + e+ | Principal note + 4% | March Pontificale CHARLES GOUNOD “Make cortain that the sixteenth notes are not played as eighths. Syncopated Waltz HYACINTHE KLOSE Moderato =~ B.1.6.306March tempo *Use the side B fingering. Ia ee High for Tone 2.1.6,306Arpeggios In C Major Gracioso a _—a = : 7 f watch the areca eooae 3 D Minor for speed. Pf 2nd time Echoes From The Alps HANS JOERG Moderato . eas Parallel major (Faster in 2) aft SaaS aeF Minor Scales o Harmonic form Melodic form 3 bo Oo Andantino — side HD. Odd Meter Study “in the beginning, it helps to analyze the phrasing and mentally divide the measure: Example: 3/4 plus 4/4 equals 7/4. Chromatics In Three Registers 7 oh nie het oie ° id v *Be sure to use the smoother chromatic fingerings. Drink To Me Only With Thine Eyes A Study In Comparing Meters BtpENetieniatn) ‘Andante cantabile32 E Major Scale Study Triumphal March (From ‘‘Aida’’) Allegro maestoso 220%33 Syncopation Allegra risoluto ——_ ee 0 o ae ows ‘vatice that the tongue action is exactly the same in measures one and two, etc. Staccato in the Altissimo Vivace 2) t Steady in five, Long, Long Ago dad a Ne “ft > contacts the A Key on the side of the first knuckle,34 C# Minor Scales Harmonie form Metodic form ~b o Highs To Lows ae Andante Altissimo Chromatics se Se im fee F-P 2nd time Rondo LUDWIG von BEETHOVEN Allegretto35 B>Major Scale Study s aU ake certain that all notes are even regardless of the articulations. D Major Drill 8 = 2a SP rnd tne Notice tae te tng scion shouldbe the same in measures one an four Andante Cantabile PETER TSCHAIKOWSKY Legato con espress. 218 Sine @Ciribiribin Chromatics At your own tempo. p o chr wt pieces. = TEE Articulation Study rae In two ne 2 for 2 smacther sur between E and C8 (Refer to nage 7),37 D> Major Scale Study “Use the smoother chromatic Gb fingerings. %Compared Tog ‘Tongueyightly. as tse Qe Whole Tone Scales ter than use the major or minor tonalities, contemporary composers occasionally employ the whole tone series, Notice that these ‘25 are built entirely of whole steps. res ‘Augmented Arpeggio 7 © iptee ee Memorize =o bee ‘Augmented > Serenade FRANZ DRDLAF# Major Scale And Arpeggio find a small percentage of our music written in these comparatively awkward keys. However, if you work and become tech- + proficient on them, you will discover that any and all other keys seem much easier to play. romatic fingerings. Enharmonic to Fé Major. Gb Major Scale chromatic fingerings. "2. son't encounter the following key signatures very often, but they are excellent discipline and have value as first step in learning soosition. Review back through your Method Book and see if you can transpose the C Major studies and etudes one half-step (C Major) or one halt-step higher (C# Major) Ct Major Scale (Enharmonic To Db Major) 3 ‘or st 3 me v “Le chromatic fingerings. Cb Major Scale (Enharmonic To B Major) £ pegs = as Fens aos of re ar Sa eS For He’s A Jolly Good Fellow ~-arspose this one half-step lower (Cb Major); and one half-step higher (C# Major)Reference Page 30 MUSIC EMBELLISHMENTS Grace Notes ‘A short grace note is written as @ small eighth note with a dash through its stem. The grace note precedes the beat and is played in a ‘ht, “graceful” manner. Don’t let it sound like an awkward, finger accident. As written: The short grace note may appear as a single, double, triple or quadruple notation. However, they should still be timed ahead of the beat on which the principle note appears,_ As written: Tre long grace note (appoggiatura) does not have @ dash through its stem and is played on the beat. The long grace note should “=czive half the time value of the principal note. However, if it precedes 2 dotted note, the grace note would then receive two-thirds =e time value of the principal note. As written: ‘o— Mordents The mordent is 8 musical ornamentation consisting of the rapid alternation of the given note to the note immediately below it in the scale. The sign for the mordent is af. The inverted mordent consists of the aliemation of the given note to the next scale step soove. The sign for the inverted mordent is av.us, erence Page i 9 Trills +8 musical ornamentation consisting of the raid alteration of a given note to the next + #stop ora half step. If an accidental accompanies the tril sign, it alters the upper tone 4s writtans ‘The interval may £9 eerrnnreerennrenr 10 ener Longer trills are ended by playing a note one scale step below the given note followed by the given nove As written: For solo playing, it provides more interest to start the trill slowly and gradually increase the speed. ‘As written: Turns ‘The turn (grupetto) is a musical ornamentation consisting of four notes including (1.) the scale step above the given note,(2.) the given note, (3) the scale step below the given note, and(4,) the given note again. The turn is indicated by this sign ce. The turn is exe- cuted very rapidly but gracefully before the beat that follows. ‘As written: “<=: co When a turn is to be played after a dotted note, the last note of the turn is given the same value as the dot (Ex. 1). If an accidental is placed under a turn, it altars the lower note (Ex. 2). IF an accidental is placed over the turn, it alters the upper note (Ex. 3). If the tum is placed directly over the given note, it is executed rapidly starting on the scale step above the given note (Ex. 4) ‘As written: Ex4 Ex