rubank intermediate method: flute or piccolo
DESCRIPTION
One of the most widely used series of methods for individual or like-instrument class instruction. Using a very well-rounded approach including scales, arpeggios, technical studies, studies for musicianship, articulation studies, solos, duets, and studies devoted to the special needs of each instrument, this series provides a fantastic wealth of material for all student musicians.TRANSCRIPT
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R U B A N K
3# /fM&QkwMm&mAMK
EDUCATIONAL LIBRARY No. 75
WIS BOOH BtLOMGS fOzrtottu CYULO
/elkocLFLUTEor PICCOLO
J. E. SKORNICKA and A. C. PETERSEN
A FOLLOW UP COURSE FOR INDIVIDUAL
OR LIKE-INSTRUMENT CLASS INSTRUCTION91616 MAIN
LOGAN, UTAH 84321752-7652
2HAL-LEONARD
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L A
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CORPORATIONnil ill MS W O Warn 1M1I M iv * - wi BSt 1 s
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RUBANK EDUCATIONAL LIBRARY No. 75
RUBANK*|/fyf
INTERMEDIATE
Kl/etiwd
FLUTEoi PICCOLO
J. E. SKORNICKA and A. C. PETERSEN
A FOLLOW UP COURSE FOR INDIVIDUAL
OR LIKE-INSTRUMENT CLASS INSTRUCTION
7
HalLeonard-CORPORATIONumiiii n a po bob imi* hhmmmu. w bmib
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ESSENTIAL PRINCIPLESof
Good Instrumental Performance
GOOD TONE is necessary-in order that one's playing* be pleasing- to the listener as well as the player. Good
tone can be produced only when the instrument is in good playing1 condition, equipped with the correct type
of mouthpiece and played with the correct embouchure.
INTONATION: When two successive tones of different pitch are produced, it is necessary that each tonebe in tune with the other, relative to the interval being- played.
TUNE: The player must develop and train his ear so that a difference of pitch can be distinguished
when playing- with others.
NOTE VALUES: The player must develop a rhythmic sense so as to give proper value to tones as
represented by the written notes.
BREATHING AND PHRASING: Each is usually dependent on the other. Since teachers of-wind instru -
ments differ on the methods of breathing", no special method is advocated, but it soon becomes evident
to all players that in order to get good musical phrasing-, it is necessary to breathe properly and in the
proper places of a composition . It will be to the pupils advantage to spend much time and effort on this
phase of playing and take seriously all suggestions given by the teacher.
EXPRESSION MARKS : Expression marks in music are considered just as important as punctuation
in prose and poetry. Good phrasing is the performance of music that has been properly punctuated. Ex-
pression marks put character into a mass of notes and if properly observed, will produce satisfying mu -
sical effects.
RELAXATION AND PROPER POSITION OF BODY AND HANDS : Whether playing in standingor sitting po-
sition,^ is necessary that the body be erect and relaxed. Relaxation is the secret to the accomplishment
of success in many other professions and trades. The arms must be relaxed, the elbows away from the
body and the hands assuming a restful position on the instrument.
SUFFICIENT TIME FOR PRACTICE: Since different pupils require different types and lengths of practice
periods, the objective that every pupil should establish is : I will master the assigned task whether it takes
]/ or 2 hours "The accomplishment of a task is far more important than the time that it consumes.
PROPER CARE OF THE INSTRUMENT: Carelessness in the handling ofan instrument is the most prevalent
handicap to the progress of young players. No pupil can expect to produce good results if the instrument is
in poor playing condition/The instrument must be handled carefully and when a disorder is discovered, have
it remedied immediately. Constant attention as to the condition ofan instrument Mill pay dividends in the end.
MENTAL ATTITUDE OF TEACHER AND PUPIL: In order that the musical results be satisfactory,boththe pu-
pil and teacher must be interested in their task, and must have a perfect understanding of what that task is.
The teacher must understand the learning capacities of the pupil so that the pupil in turn will get the type
and amount of instruction that he will understand and be able to master.J. E. S.
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REVIEW LESSON
1. 'IV.uher should Bee to it that the instrument is in good mechanical condition, namely, springs,
pads and k< \ s,
2. Rhythms m this lesson ars fundamental, and it is expected that the player will have had suf-ficient experience on the instrument to be able to read the succeeding- sections at sight.
3. B B just .is important as notes, and therefore it is important to have a sound rhythmic con-ception m order to play well at Bight .
4. Attention should he given the enihouchre at this time, so that a good tone is produced at all times .Any variation in the embouchre that produces good results must be discovered by both the teacher and pupil.
321 ^ 1
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ij^. *- *- r>irr>r * i ^^ ^^ trr \ r *$=*
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yCopyright MCMXXXIX by Rubank Inc., Chicago, 111.
Copyright Renewed International Copyright Secured
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MARKS OF EXPRESSION AND THEIR USE
Pianissimo pp Very soft Fortissimo ff Very loud
Piano p Soft Forte / LoudMezzo Piano... mp Medium soft Mezzo forte mf Medium loud (Normal tone)In playing a tone on the flute (unless otherwise marked) the tone should be held at the same level
of volume , without increasing or diminishing the volume of sound. This type of a tone will be indicatedby means of parellel lines, thus:
The distance between the parellel lines will signify the difference of volume to be used.Thus : pp p ===== mp = mf / = ff Z
#/XE IE
jyn XT XE H
-e- -e-
HARMONYP
P =P=
mp
-&-*-
mf fi
mf
mf
i
nmp
mp
ff
P
c> *
=4
/fr i f
PPr ir *
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STUDIES IN EXPRESSIONSound Graduations
Crescendo (cresc.) Gradually louder Decrescendo(decresc.)or Diminuendo(dim.) Gradually softer
In playing a crescendo or a diminuendo the pitch of the tone should not change. It is a common fault
of especially young players, to play flat when playing loud and sharp when playing softly.
In order to play the sound graduations or nuances correctly, it is necessary that the quality of the
tone is not affected.but retain its rich and mellow fullness. ONLY THE VOLUME SHOULD CHANGE.
Isc f pp nip mf mf mp p pp p mp mf f f rtf mp' p
fP mf f JT ff f mf mp f nf mp p mf mp p pp pp
When a note is followed by one or more shorter notes, the shorter notes are played with one half thevolume of the longer note. There are exceptions to this rule, but it is a good policy to learn to play all phrases
as mentioned, since the majority of all music played in this way will be properly performed. Players inter-ested in the fundamentals of solo playing will be greatly aided by adhering to this principle
.
SL = E 5 zz: P^iJf f f f mf mf mP mP P P PP pp ppp
S e ??-*-/ mf mf mp mp p f mf f mf f mf mp f mf f fUsing lines 2 and 3 as patterns, write in the various volumes required in the playing of the succeeding
song. This will acquaint the player thoroughly with the sound graduations required in the proper per-formance of solos and songs.
BLUE BELLS OF SCOTLANDAndante \x Vx
1 * i f rff .P?
i r r r r i r~r Nr r r N^ r ^Vr rr i r r f
f^r r,
rr fj |r r r f | f ^
mf
/i r i I
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EXPRESSION ETUDESAndante
1 fcl v mp /
P~ o ; .
P
^=Ffcr;"/ mp p mf / /
(p * feci I
Moderato
wf /
2 ^E te
J!T
^
mf jy
t. hr ltrrr f ^Wj0 Tft/* Wj / mp ~ f
*-i*-* fg-
y
He/=~ mf ==- wp =- i? ^
fc
/
ftsmug mf^t\^rum *-+ qfc#=rtif -_
mp / mf - JT
r-rf ttrrr fff f i rrff rWjO
Andante
/ ifi
^/- / wjo
rrifi
f Frnrrrrrfltil= /=-
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DAILY STUDIES FOR THE DEVELOPMENT OF TECH1VICThe Btudiea on thifl page era intended for daily home practice. These studies, if practiced diligently,
will develope B clean and fluent technio. Most of the awkward intervals in the key of C major are in-cluded and every finger gets the opportunity to develop independence of action.
Play each study with a steady tempo, slowly at first, but increase the tempo each day until every
study on this page can be played fast or Allegro.
Breathe as indicated by the commas, whether you need to or not. Breath marks may be skippedif two complete phrases can be played in one breath.
i & IS m-y"if
fcfcftf w* m m * #=q* e=m
$ 00L pUm *= SI girts?E =*
l^n-^n *=*= wt= MferfJUftljif
ifrrrfrrr'irrrrrr rf^fff 1
e,
g-f frffrfr
|frrffprp
i
rff-^ frri
frf
Also play 8va
E PPP
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8STUDIES IN G MAJOR
G MAJOR CHORDMgff^%^ i [rn fjn i crrrrrrr ifl^Ij^iP^rffSrf^i* /-* sSgl ^G MAJOR SCALE
ft^jy inert r f-T
^ ^ # #^# f r e
The use of the F#Allegro
jy rfryr tt#
ttr r 'ir r ^ r i /tIm* f
&=k m fc^ m 0l Vim if? i f r ft p
"rttpr y r r> .f f-ftH^t ^=*r^. ^ f ^
# ^ #|^
#ftj f^
# j^^0-F-0-
km & s
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SUMMER EVENINGReverie
Andante
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10
STACCATO STUDIES
PAs written
m m m
$As played
< p-p'yp-yp-lp-yp-?p- 3 e
AllegroSTACCATO ETUDE
* 3 * . # ssT* J # J J-0 m^ &M
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11
ARTICULATION ETUDESAllegro
rftff i cJirricr+^?m i f ifcHf-i i-j txng *^
"//' wp ////> / ///. WJ0
$m l I CJT-T p> r > tftfT | fC^/ -=r- WjB
i c tfCr i crD,
r r4g#eh1 ^ i__y^ ^^^m 1PP =m/> 'V
|r?HHir'rrrri L r rr| iJrF? d '^M m^gS+Atfirt i crpg efc*
T
Moderato
f'^I'M'
Pfe f fffff .tt r rf f f rffi-^frirrfrQ^ijjn g
Play above Etude with each of the following articulations.
*
(a)
cLLJrr ri irt* w . V W it - - r>
^(?)
#w is*r y>. -.^^^^gg ? .
(a)'
mm'
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12F MAJOR STUDIES
F MAJOR CHORD
Allegro COUNTRY DANCE
m MM i^mnf-
tii tf ifm msMi i
# 42
/-
TECHNICAL ETUDES
J771^|gUi=^ gTH4 7fol g^?WJJ*IHU
/
ffJlW | J^^J]|/J7J3J?TTjTTn?,r : ||
rfYf^ffrfirf^fyfrf
irTf^rfrf i r^ff:6 j&Rf
gi rfYfrffrirf*f
ftfF *rfr
f^ fr 1
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13
ACCENTS (Rinforzando:The rinforzando or accent (>)is placed over a note for the purpose of bringing out that particular
tone more strongly than the other tones in the same sequence. The rinforzando or accent punctuatesthe important notes of a measure or sequence.
Moderato
igj feMWALTZ
f y .
f
f f i f r f i f f i f f i f f r*# M S
MARCHAllegro
! Ife^
^ ^
I' 0&0 fe
P P
fe^
ftf jyrrrir jg ^ *^EModerato WOODEN SHOE DANCE
;if
i if* rj
[* |> p^ jp j |^ I ? p
j
jryf-ji # I r ar P r arrj-ia
^ fel EE^E M_ * ^F^ine.^mmp t
mmm m -mp f
0-zr0-Tlf-^ 1 ~*"
*fVf.f
:/e^S-0 . + # "-#
"P=#=F
#:#
^ / D. O.
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14
SYNCOPATIONThe longer note of each measure is to be accented.
Im mmI i^F^g"T-Tf PPP ^ ?mm
00v- |
f r ~ -=- p=-
Ife^#19 rj
&-*- m?
fc mm00 Pm
00z p
^z: 2 * g 2
Allegro
4 fe P^SYNCOPATED MELODY
0~, ^S# fi
prPiPrtyf-fhTTffyj=p/
i*-r-r ^r i Pf PiPfftitrcr i pEl
. ftp ?#
g i pr "T i^f ^ fffirr i pH iCf-tmrf-^=S te"^E2Moderato SYNCOPATION IN 3/i TIME
%-tf rpifffy|ffffff|ffp r |pf rp | Pfftrf#^/
fc-JfiffFffp .fff rfr i fffffr, p r p ff .fr
f
r^=t
:pjiii tir i ff
r
;
'
' g -f^rrfji #_
; i g
-
15
Count 6 beats in each measure
12 3 4 56 J 23 456
P6/8 RHYTHM
r\,, ifCfir en mt 1112 12 1 2
Also count 2 beats in each measure
.
*
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16
Bl> MAJOR CHORD
ee J3=^J
Bl> MAJO
+.
+ * m i*
& i
^mBl> MAJOR SCALE
H^JIJI^'^S
^-^i ^j^XLTLr^t^ #-H* ^HH4jJI
ETUDE IN THIRDSAllegro _
4 * rm in nil 1 1 > i u ' icrri ti nmn^ j/ simtLe^tlTS\tr\tttS\tr p^- Wzmm$i frrr i frfr i rE JXTiCir r i f
Allegro
*ZTp
TECHNICAL ETUDE
*-*^m-^
*
-
17
MAJOR AND HONOR KEYS IN THIRDS
C MAJOR in Thirds|^^N=ri : j^=^ f- *
i
r_i^UUJJJJi^
A MINOR [Melodic) in Thirds
^TftfS r #r . ttf f fzgzgtt-^% ju#ite
^
l;
E * * e * * ^ * + *. i #=F ?g^=MlA MINOR (J/armonic) in Thirds
rFFf-*
8* *tt#ff^^
Pe#*
- fffrf aG MAJOR in Thirds
=.,
j^lLlT i c i r:c* *-
* , *.J=f rrFf-f- . fff P frC te ^E MINOR Melodic]
ft,,
ii i 3= ^= Fff*TTt*iu r ? r-P-pH-r^T-P ^A%ig
*^
M +f t m f
*=^=^s& glE MINOR 'Harmonic]
si HHd m **+* At *t tii i
i 1
r
rfrrffffffT^fFte
i t * i ~l P m *1 PUPel
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18
ExampleTRIPLET STUDIES
&m ^ r ? r v -0-* ' ^1 2
m 3 ^ 3^ r r r p r=?=f=? ? t1 2
ModeratoETUDE IN 6/3 RHYTHM
m frrcr^ ittrr i i:fffrf | Cfj nFtrprr i Cf-ff i t^ ttf-mrmf
***rfrn rffnffffffJ
/* *#1*
ModeratoSAME ETUDE IN 2/4 RHYTHM
a ^rrrr iffrrir^rrf |f^ntfrrrri r^fFf rrri^T T
f, rff r i f ff f .fffl i CfTr iCffr i!ffeM
ffrr/riffrr i rffrrJ'iCffr
i
Crfrr.r iHHI
G MINOR (Melodic) h- # Ij*^.
!>.. I PI-
- ll #f i ffe^s i fek^rr_r" J
G MINOR (Harmonic)
k j il
rrr
tfnrM, # *#* ? te *
f,r_Ti rfg^E
-
19
AKTICTLATIOX STUDIES
EgrreBTnarto'tr-iF^-itr ncrwei*r-f-re^j^tg^s^' * * m , ^ * ff
ModeratoFOLK DANCE No. I
;*ii* aftf^W fe^tT iftffigl^f/ simile Fin e.
jrfjr^Tf-rff^fff|!ff
i
r^fff^ffitefifeqz?.c.
/Y// f
.
^^g 5 ^g^fefr***- f
STACCATO DUETZ?.C.
J.E.S.
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30D MAJOR STUDIES
D MAJOR CHORD
1 ^ i a * 1-e
pi r r r i ' i rrfj-n . fff i&^D MAJOR SCALE
is s ^^si? i firrTM^ ffhttt&
DAILY STUDIES FOR THE DEVELOPMENT OF TECHNIC
m *3 'a^r
ittit rTrr r f7> irr Tr rf7% ii>T7r r rrTirfrff fr -i
*P -C- _ -, _ - l
* xk
-
21
DOTTED EIGHTH NOTE STUDIESDotted eighth note patterns.
**\ 0lfmmt&EjkM Wm**W m m *f-fQT S?$*U U [__;[_/ m> mIU-- " err r cr ppp^
DOTTED EIGHTH NOTE ETUDEModeratomoueraxo m.
* 1
cav/frrEg E
MAZURKAJ.E.S.
Andante
Fine.
fSfori
fifirr r iCgffrrJ irff f |JES^r07rrr r iz>.c.
B MINOR (Melodic,
IMm rjf|f ff:
***%% f^e^eggpff
B MINOR (Harmonic)
Wrrjt | ff **%f*
'
# #- # #- m =mm
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22
MAJOR AND MINOR KEYS IN THIRDSD MAJOR in Thirds
PH rrrrrfrf i ffffl*=^r+ #
tfrrfrf? je^-l^U ^B MINOR (Melodic)
I^ ffrftf-fcff*# iu tefitfffe
?
-ffffffff,f*frfrI-r i c_r rjr r hi
B MINOR {Harmonic)
1 **.fe *te
-JfF=
3fe UMi*-
~ -*
^fe^H'rrfT^ fr'jjrr h iF MAJOR in Thirds
. m nv,r fntflftlt1+ # ~^frlfffrfm fcz*
D MINOR (Melodic) in Thirds
>H7?3 Qg^ y-^-^ ^r*rr'f ,fPP
CiTf i r r ^ r r n=fc^=fcJTT3 J j j j u m i D MINOR (Harmonic) in Thirds
^ jjjjjTTiMirr/rri ,rrrrfr,ffy
^rLrr/ mrrr ?
-
23
Eb MAJOR STUDIESEb MAJOR CHORD
Eb MAJOR SCALE
mh. rTrTTT +41?-+ &m*TECHNICAL ETUDE
Moderato
foKrrrrrrrf i fiSiEi rf "luCfr i
*=p#
#
GAVOTTEModerato
^^rTf i rfffif tmm frf^^Tg
k
ftlf
'titn&Mnfttffit : p # p p # p1^1*e
^ffff ifiEyfrr| r7r^r-t^^ | f 5
ro7.
-
24
SHARPSHOOTERS MARCH
v
Allegro METALO
P-f
:j>
p-f
SI
*>-/P^
fi
*r f if f,
=e
t trr
m m
^
r p t r
fe^
#Me y
^
Me
i # -^
^^
i^fe ^
s ?=?=?
^ S
* ^ P ^ i
iSe f^ ^
^_
P^ ^ # ? ^
fe i^^ i-Pp#T 5 us i=tHE eJe ^e ^ feEE E^E feF 2
P ^' 7 [/ $^f ^mBE
-
25
MAJOR AND MINOR KEYS IN THIRDS
Bb MAJOR in Thirds
K^ J J^ #-r~y
##f >'c *
f|lff M ( ,f rr I#G MINOR Melodic) te^te tete?
G MINOR ' Harmonic
# #1 #r r=e 1 f
f
g fte gg*gfg
;
f frf ,fff r rttrrr
i tt^ *.- r^ ' jfJ^Ej MAJOR in Thirds
i^S ^j^J^i cx^ crrJ i crLi
fP . fffpf
^#^f^f-
r+frrrjsC MINOR (Melodic
JTTj-^^ m . f m rrrrr r^^f^g=
ii tr j r Cj rj Lex/ i J ^ J J^JJJ i i^hJ-JC MINOR (Harmonic,
#M \zn r r r r i ,rrrrrr'V \rPmr "'
-
"'Tf[j^.H'JJJJ < j ju,^ i
-
26A MAJOR STUDIES
A MAJOR CHORD
gfe tr&tf \ r c/ Lgr^r> i r u u =/n* r*m
u ^ Ir> ? ,
wU1 J*
A MAJOR SCALE
3ffi JJ^' I Cm r
>#
flftttl' Lilflr i^f rrfif?rf rff ^i^^:
AllegroTECHNICAL ETUDE IN A MAJOR
Mode rat o Also play 8vaLEGATO STUDY
fe^ S i =t feAii Pnro *- *c EXERCISINQJTHE TONGUE S? vx
--^^o.
-
Moderato
Nfl t
-=
p-
CHROMATIC STUDIES2/4 Time
87
5- J?' ' * i
^yr^Tri rjrpr >
i rr'Tri^^^^^4^Andante /8 Time
|^U> KX~*
Moderato2/| Time
;ira~w *=
jrqjr7
rirr
rfitfpp
fcfigif # ^ 1* b
Moderato2/i Time
*7l7 IF** il l* - *itr rj* i*j-M MAJOR SCALE
P LLU^^ ilf^nrrr iTuj i^rxu ift^BSfs ^
simile
*-+
El^JJ^M^Moderato
LEGATO STUDY
S m f m*+ *b=dmf
s^jT i fafTO i r * i ^c/r ' sj^^
&s 1
ModeratoGAVOTTE IN Ab
^ iM m Mmf
^jg ggg ^ US
# !* ^ i lg i &/Y/t /Zi.C.
fejp Si irrfr
*
1 fe &S ^Fine. f DC.
-
29MAJOR AND MINOR KEYS EV THIRDS
Ab MAJOR in Thirds
F MINOR {Melodic)
j^ JJT3 gj (jfTr^nrrt# m l
mj \ rT^ i hi\t~\t \+\ttt.
Tr r p r . frrr^ l^i^SF MINOR (Harmonic)f^ \\f: #*teff
Megate**
m Elftlfr . frrw ^aA MAJOR in Thirds
fe rr^-t- #f
*^
# *
is
rU MINOR (Melodic]:- m. late
^ ^^tta^Ma^fgnrf i tiifgfs
pa*1 f^f ^PPl
FH MINOR (Harmonic
)
? ##*^
** #afea
-
30
GRACE NOTESThere are two kinds of Grace notes, short and long. The long- grace note acquires half the value
of the note that it accompanies, and is seldom used, since it is easy to write out two notes of equallength. The short grace note is the one that is commonly used and will be used in succeeding studies .
In addition to the single grace notes there are double and triple grace notes, but these are usuallywritten out and played on or before the beat . As to which one it shall be is usually determined by thetype of music being performed.
As writtenSINGLE GRACE NOTES
As written
^TTT* >
5 1 XE~0
3ZZ-> >
ILONG GRACE NOTESAs played
SHORT GRACE NOTESAs played
^2: m io P P m m
^
As written DOUBLE AND TRIPLE GRACE NOTES-o- _o_ -- i
s
AHEAD OF THE BEATAs played
-& _o_
ON THE BEAT0^*^0'
1 P
I
SINGLE GRACE NOTE ETUDE
0. g - *TT* gDOUBLE GRACE NOTES
J J
TRIPLE GRACE NOTES
asS pfl.*#..
rr;
/** +& o
-
Andante
n& k^ mGrace Note Etudes
TEMPO DI MINUET
31
m aw/>
^^irr^^r'r^
i
r^^^^i^rtf&r^^
a^ /.
^TTrT-* m fr-rr^ ULj'
P?^Jr. *
*=S*=?
P*
m \P \t &t + \trf>fa
i nr^ irf rir^r i rrrffrE 3^:
4
Andante
DOUBLE GRACE NOTE ETUDE
#=#=*E
* rrr ir^ ^-*.-#
f-\f>fff;
mmJ5** * /J?4 ^
> f j-ff.^f^ J3* IJ5g JV
iii=i
TRIPLE GRACE NOTE ETUDEAndante
f r ^rfM jn.f ,,^sgel^ri ff 33b at i r^r/cflJi7?^ doIce
*
Hgl F-Hf^ejq *#
m,yp-
rcirf r
i
r^Sf r f fj
-
32
ABBREVIATIONSAs written
HE m12 3As played
000 mmmm up12 3As written
XE
2 As played
ABBREVIATION STUDIES
ge #
^* * r r if r
simile
/^~0.
f r i f ir-
faa^f^fH^fgf Pf , if f^m =2= aH^rf
-^=f: r?* f^T^f^
7 &^^-4r>jf^i r r r r
,
i^ r rfi^^ a__i
Allegro
|l M^POLKA
- #f i f EMVf ir r
f
^^ I r r r -i^ # ^#
t/f it-T f/
t-MF i f tj- . rif i f r ,f-^^ ^#> 1
mf
-
GYPSY POLKAAllegro
33
Bohemian
* m+-k *fi
$fl^f**"s
"
i ^"M ii r
ij* j* *
/
ffi^sif ^ #L ' # ^^ !e Mr
I'f fffr^M.f# MMe# # m mi f- a > #*Kfep
mf
Jr-a-g-gV
f
mmf f
TRIO ..
i
ii (Mt^^ r f f
r f f f
^
iff fr"rihp
A''i,y r f-r -fm
u-^-Jta
tf t r r Pj* r f f r pT7>TO [/ 4l ^v p 1 LJ 1
>n OMiamf
k^M??mf
MM M MM ^u M ~*~-m
f
fi
E
-
34E MAJOR STUDIES
E MAJOR CHORD * # **- .
f&lPPr \ ijjtif \ fttrtr \fLM'\ft"tr
Prf#ffr|Jifef
i rtrXT\
\
!prt?up?rt
E MAJOR SCALE
A f f i f f ff ifSModerato
TEC EVICAL ETUDE^*
f~m*
u +* I^rr^*-ri>
THEN YOU'LL REMEMBER ME
U Andante Mi eEH PS 2 ^^wp
^^?w ? m zustr^mp^-^ # # ^^
"rrr S3 E eg
?
^^ ^
dzgjg^ i f
i it ffqE
P^PgP
^^^
^ fei*
f QS as-#-#x*:sN
-
35
DOUBLE TONGtJEINGDouble tongueing is usually applied in very rapid passages only. This articulation consists of two
Btrokee o( the tongue, one forward on the letter T, and one backwards on the letter K. It is necessarythat both of these >trokes be practiced well so that a good tone is produced on both strokes.
T K T K T K T K
0u-h rrrrr ^TKTKTKTK
4 -& ^fffr rccrxr |CftTSCALE AND CHORD ETUDE
r*0 0-0 0T0 0-0=
0-0
00
> ^af-ffla WW=F 0-0i mmUToo T K
ARTICULATION ETUDE
SYNCHRONIZING THE FINGERS AND TONGUE
-
36
Allegro
CHORD ETUDE
* W-f
mI^m
simile
-+* e^rrr^ -t
A *M
t^t'-i.r:^ 1-^
fM^s m rr m m *'.**-**^.** *1 *tnzA
*-- 3
,
~ 0_
# ^ ac3 - =* * # ~ . 0.0
m ~ .
AllegroCHROMATIC ETUDE
fiif:*.-?*-*- l 0-\ i i .
.
I. .
"*:>*. \,m ^pga Tgfl^Fm 7 m \-*. m +m m *m \*1^ p^^S
-
Waltz tempo
LAENDLER
f r rf . f P
37
KMOCH
:*
JT vtf
mJ* ^-0 -#*-:*
to/"
*fTf f I! , fQ r=S^g # "T- p
in O^ ^S f f f=t V- P
m !=P
-
38
THE GRUPETTO OR TURN (eo)As written
OO oo oo
L_ L i CND ifeAs played
m r arr jgjpi gg n^^/
-
39
TRIPLE TONGUEINGLike double tongueing, triple tongueing is applied to very fast passages only. The tongue has to
make three (S) strokes end are produced by using the three letters TK T. The player must be carefullto produce equal tones on each of the letters.
*T~ T K T
i f^^^r
r-rf-ffffr-wr-^ggg^^
gf-frffffff-ggi
*z=m*MM
*-*+I -^gyf-rCff^^
!_ , 0?**m*t t $*tirmmr \r fffrtf
f
if e-Ci
T K T
Single
fcrf Ir tUt-i i ^ >-
Double
TripleTKT
Pf ^ tgi ?a i^5 5 3
-
40
USING 5th AND Bth FINGERSThe 6th finger is most commonly used, however, the 5th is used in rapid passages
^M
Ctfj'afr^ftT j^tfJtftffFf iJ'J^rrrr^
W~ m.
Untir*Tft \ rfl^E MAJOR in Thirds
* - *
i r rr ir rrrfrfF
i
^E
C# MINOR {Melodic)
* rrr i i^LUJttrr tff ,ttr ftffp_f
ptt -^JjJJ i JTl ?C# MINOR {Harmonic)
Ifcj^jjjjjiJTT^cj^ fe^^
rrrj[cij n^^ *?3
-
41
TRILLSA trill ifl produced by alternating- the given or written tone and the next scale tone above in rapid
succession. As an exainple.it" the given or written tone to be trilled is E and the key being played isthe key of C major, the scale tone above will be F natural . If, however, the key being played isG major,the next scale tone above E will be F#. In the first instant, the trill will alternate between E andFnatrural and in the Becond instant, between E and F# .
The approximate number of notes usually played on a trilled tone is shown below. The same number oftones is not always played, because on long tones, the trill starts slowly and accelerates in rapidity to theend of that tone, however the examples below show the exact number of notes in a regular trill.
*
// tr iro
On long tones or tones of a slow passage a trill is usually closed with an additional tone which is thetone directly below the given or written tone . The closing tone is not usually used when playing a shorttrill or a trill in a fast passage.
Sometimes it is necessary to alter the pitch of the closing tone, and this is done by indicating thus:(jp
(TXT) ^he ^ey m which the trill appears, determines which one of three symbols is to be used,howeverthe purpose of these symbols is the same, namely, to have the closing tone either a half step or wholestep from the given or written tone. When the sharp,flat or the natural appear above the trill thus:
^
(i.) (^.) j it is an indication that the tone above the given or written tone may have its pitch altered to fitthe key or modulation intended in the music being performed.
When the closing tones of a trill are to be emphasized and ritarded, these two tones are usu-ally written out to insure their being played. This is especially done on long tones or holds whichend a phrase or a cadenza.
ir___ ^ it ir ir
E5 ^^ I B ^m ^m
-
42
TRILL CHART FOR BOEHM SYSTEM FLUTEWhere more than one fingering- is listed for the same trill, the first is preferred, although the sec-
ond may be more effective on some flutes.
1. The numbers, fl-2-3-4-5-6-), indicate the 6 large fingers of both hands.
2. B?-B,
Left hand thumb, 'X/ indicates when used .
3.(Gi, Left hand little finger, 'X) indicates when used.
4. (D?', Right hand little finger, CX) indicates when used.
5.(0/>Circle around number or key name, indicates the keys in motion in the production of the trill.
6. Trill keys, upper and lower, (X) indicates when used.
1st l 1 1 i i 1Hi 1
T
1
Kr
1f ]
1 1 1
s
1 1 i 1 1
V
^a
1 1
B\> X X X
B* X X X X X X X X X X X X X X X X
2nd 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 vD (2)3rd 3 3 3 3 3 3 3 3 3 3 3 3 3 (E 3G* X 01/ X X
or or or or
4th 4 4 4 4 4 4 Trill kev
5th 5 5 5 5 Trill key
6th 6 & 6 6 6 6D X X X X X X X X X X X X X X X X X X X
-flL- V k, = **-] IntJh 1Hh 1 rfnnrs twm i 1 M 1n* "m- i]mm% m iV k o o> tto^
A. *, ?o * fao o-* TlW1 i>S* giV * fto ? * qo^* o y iioi w fv.i tyu -tt^fin i
,' *_ 1V'\; w
1st 1 1 1 1 1B\> (x)
B* X S 5) (x) X X X X X X X X X X X2nd 2 2 2 2 2 2 2 2 2 2 2
3rd 3 3 3 3 3 3 3 3 3 3 3
G5
or or or
4th 4 4 4 4 4 4 4 TriU key ( 5th 5 5 5 5 Trill key (x)
6th 6 6 6 DS X X X X X X X X X X X X X X X X
-
43
H4 W o&* ritHV'* :^' lji -w i>o-" tt^ ft 1
1st l t 1 i i 1 1 i 1 1 1 1 1 CD 1B 1? X X X W| X X X X X X X (?) X2nd 2 2 2 2 2 @ 23rd 3 3 I 3 ,3 (3) 3 3
6| x vx x X X or or or
4th 4TVill kev 5th
TVill key 6th 6
d; |x X X X X X X X X X X X X X X X X X X
iO^ fc^ IkJ* lfe> O^ oh?
#qJM^ ^M te^ ojj s^ te^ ^1st i i 1 1 1 1 i 1 1 1 1 l 1Bb
Bt? X X X X X X X X X X X 2nd 2 2 @ 2 2 2 2 2 2 3rd (D 3 3 3 3 3 3 3 3 3 3 3 3 3G* x x^ X X X
or or or
4th 4 4 4 4 4 (3) 4 4 Trill kev 5th 5 5 5 5 5 5 5
Trill kev X6th 6 6 6 6 6 6 6 6
DS X X X X X X X X X X X X X X X X X
-
44
LEGATO TRILL ETUDEAndante
1 ^E ^r gJ> i mm- -^ r^*=z -m+-''J \+=*=^w->f-
tr/^ZTm.O tf* V i #'-1
*=*= s^#5- S7T**.
fN^g -flLnrtr*#~*>*-=^
*0W
- ^ff^ .ff^ 3tfcfcEi.
4r
M r * i j ^j-j r 1 1 1 r1r,^ ^^
g !> *
/3 # f f , f^*
STACCATO TRILL ETUDEAllegro 4r^^ ir.
-
Moderato
6/8 STUDY
ff^f f | f f f fMI45
gpgj/?. C. a/ T^rae
AllegroARTICULATION STUDY
-'
rTrrr
t7rf sei>
^bg=^f^
$ ^
-
46
TWO-PART INVENTION
Allegro deciso
& =mBACH
ft
mf
m p=+ is^/
# *.ps #- #vp^ppp.p
#^i^f^f fe=g r #
a #-# ^ =*:
m f^^ s * # *^-f*S^
^r r * . . 1 P? f t rfrV1!
* r f
mff^r EF^f^= iffl 7 Y -rp^
-
47
rkrr"\
f$fpHf iT$ftfff*ff^. tff^rTT-
#JlL I- ir =* ^Ei^ ^ #
rz7.
-
48DUET BRILLIANT
Allegro J.E.S.
rfrr r rrr rrf^ .f> i^/
fee tj-t-j 5/
cjn^n si ff>r ^e
cj_U_j4j-
-
ajuuw0*fa(
SALIENT FEATURES
WRITTEN by schooled instrumen-
tal teaching specialists with
years of practical experience
in applied music techniques.
CLEAR, open, easily read music
notation, uniformly engraved
in a format designed to min-
imize sightreading obstacles.
SIMPLE, accurate, common sense
fingering charts are included
with all of the brass and
woodwind books of the series.
POSITIVE, readily comprehended
approach to each fundamental
problem, presented in an in-
teresting and direct manner.
MATERIAL utilized is presented
progressively and logically
with ample technical founda-
tion every stage of the way.
SOLOS, duets, and ensembles are
introduced to provide stimu-
lus and to prepare the pupil
for band and orchestra work.
CONTINUOUS development tothe fourth year is possible for
each major instrument usingcorrelated courses of study.
BINDINGS are in the distinctiveRubonk blue wear-well cover,-
paper and printing d
meet the rigor'
l-f >M\
I73999 7021HL04470210
ijo}
From the RUBANK EDUCATIONAL LIBRARY
RUBANK ELEMENTARY METHODSA Series of Graded Fundamental Courses forIndividual or Like-Instrument Class Instruction
FLUTE (Piccolo) Petersen
CLARINET Hovey
OBOE Hovey
BASSOON Skornicka
SAXOPHONE Hovey
CORNET or TRUMPET . . Robinson
FRENCH HORN (feb Alto-Mellophone)Skornicka
. LongTROMBONE or BARITONE
Eb or BB[? BASS (Tuba) . . . Hovey
DRUMS YoderBELL LYRA Whistler
MARIMBA or XYLOPHONE . PetersonTYMPANI Whistler
GUITAR (Spanish) .... DePressles
VIOLIN Potter
VIOLA WardCELLO WardSTRING BASS Ward
RUBANK INTERMEDIATE METHODSA Series of Graded Follow Up Courses forIndividual or Like-Instrument Class Instruction
TROMBONE or BARITONESkornicka-Boltz
E:> or BB'? BASS (Tuba)Skornicka-Boltz
DRUMS BuggertMARIMBA-XYLOPHONE-VIBES . Jolliff
VIOLIN Potter
VIOLA WardCELLO Ward
FLUTE (Piccolo) . Skornicka-Petersen
CLARINET Skornicka-Miller
OBOE .... Skornicka-Koebner
BASSOON Voxman
SAXOPHONE Skornicka
CORNET or TRUMPET . . Skornicka
FRENCH HORN (Eb Alto-Mellophone)Skornicka-Erdman
RUBANK ADVANCED METHODSA Series of Outlined Courses of Studies Designed to FollowAny of the Various Elementary or Intermediate Method Series
FLUTE, Vol. I . . . . Voxman-Gower
FLUTE, Vol. II Voxman
CLARINET, Vol. I . . . Voxman-Gower
CLARINET, Vol. II . . Voxman-Gower
OBOE, Vol. I . . . . Voxman-Gower
OBOE, Vol. II Voxman
BASSOON, Vol. I . . Voxman-Gower
BASSOON, Vol. II Voxman
SAXOPHONE, Vol. I . Voxman-Gower
SAXOPHONE, Vol. II . . .. Voxman
CORNET or TRUMPET, Vol. I.... Gower-Voxman
CORNET or TRUMPET, Vol. IIGower-Voxman
FRENCH HORN, Vol. I Gower-Voxman
FRENCH HORN, Vol. II . Gower-Voxman
TROMBONE or BARITONE, Vol. IGower-Voxman
TROMBONE or BARITONE, Vol. IIGower-Voxman
E? or BB> BASS (Tuba), Vol. IGower-Voxman
E'? or BB> BASS (Tuba), Vol. IIGower-Voxman
DRUMS Whistler