H. KLOSE METHODE (COMPLETE CLARINETTE NOUVELLE EDITION EN CINQ PARTIES Entigrement refondue, révisée, mise au courant della technique moderne et considérablement augmentée d'exercices et d'études 1 VOLUME I. Les éléments du mécanisme. II, Premieres études des gammes et registres. Articulations, Expression. Ornements. Arpeges. COMPLETE METHOD METODO COMPLETO FOR CLARINET PARA CLARINETE NEW EDITION IN FIVE PARTS NUEVA EDICION EN CINCO PARTES Completely recast, revised and brought up to date Enteramenterevisada, puesta al eorrente Jnaccordance with modern technique and considerably elatéeniea modema y considerablemente enlarged with additional exercises and studies ‘sumenteda en oericios y estudioe 1° BOOK 1° VOLUMEN 1. The Rudiments of Technique. I Los Elementos del Mecanismo. 1. First Studies of Scales and Registers. II, Primeros Estudios de Escalas y Registros. Articulations, Expression. Ornaments, Arpeggios. Articulaciones, Expresiones. Adornos. Arpegios. VOL. 1 Editions Musicales Alphonse Leduc 175, rue Saint-Honoré 75040 Paris cedex 01 AL24 925 él sYPMéthode Compléte de CLARINETTE 1** Volume Complete Method Metodo Completo for para CLARINET CLARINETE Ast Book Jer Volumen.PRIMERA PARTE Delos elementos del mecrismo Introdueeion. . = clrinete- Origen. Familia. Desespcion. Culidades ‘xen : ee Boquilay cana Postion del cuerpo, des manos "Vae los dedos, Positn de a Boul en Ta boca ‘el soniday de la manera de produc. Del timbre (Conseot sobre el estudio lento. Del vibrato Modo de area las eas ‘abla cromitica del clarinet, con explcacones “Tabla dels tines, Resoluciones Digitacones ..... Primeros sonidos que deben estadiarss Sonidos derechos rimeros sonidos iltdos. Fjerlcloscromscos ara aprender a destacar Pare aprender acontenes el soplo ‘ara aprender el paso de La del medio al Si Escala cromatica = ‘ela respiraclén, la semb-respiracién "dela manera de espa Det matiz ———— ‘lento sesenta yun eesicos de mecanism0 (633 eferccis prdctics lal... INDICIO 6 “ 16 BENE sees a a SEGUNDA PARTE Primer estudio de as excalaey de ls registos, del ritmo, de la ‘artetlactn, dela expres, dels elornas de fos arpegios Pelmeros ejecels sobre las excalas mayors ymenores y sobre ov aeotdes de tonica ye P darinanteen todos ls fons ‘abla de as esalas mayores ymenores (2 cases de meno) ote sore CGuatentay cinco lecicis y eine y sete nuewseferccis, ‘nis los tepetroyeobre difeentescominaciones de ‘Stculeiones Eon extodios de mos y de intérvalos Detealderon fa Delasnotaigadas 7 et Louré (Destacado pesado en el soni) De lasdifleentesmaneras de destaca.Eercicios Dela manera de acentare sonido Dela sincopa De lasnotas cortadas ‘De os sonidos lads aumentados y disminuidos Dela apoyatura : Delgrupeto «=. : Del rina, en tas sus formas Del mordente Delos arpegos -.....-----0 : Estudios sobre los diferentes ess del nstrumento 17 18 Ma wt 150 ust 18 160Méthode Complete de CLARINETTE 1* Volume Complete Method — Metodo Completo for para CLARINET CLARINETE Ist Book ler Volumen,TABLE DES MATIERES PREMIERE PARTIE es iments da mcanime Inrodetion| ‘a darinette. Orgies. Famil. Description, ‘Qualtés Etendue ‘Becet anche Poston di corps des maint es dogs Postion du bee dansia bouche Dason a de a maniére de le produie, Da timbre. Conseil raval lent Du vibrato, “Manire arranger les anches ‘Tablature chromatique dela darinette vee explications ‘Tableau des tiles. Réslutons. Doltés Premiers sons &étuder. Sons dots ‘Premiers sons figs Exercleeschromatigues Pour apprendre détacher Pour apprendre retenirle sou Pour apprendre e passaged La du meta au SL {Gamme chromatque De a respiration, deta demi-espration ot dala manibre deresprer ss Dela nuance CCentsokanteatun xecces de mécanitme 633 exericas pratiques et journaler 4 16 a a0 38 a a “ “ a a o se DBUXIEME PARTIE Prom tude espa sree, des rythmes, desarteulains de espresion, es omements, ds arpages Premires dudes surios games majoures et minaures glsures rors de ig et deseptimedominante fans oustes ane 6 “Tableau ces gammes majeures et mineures (@ypes miners) 106, uarante-cingexeries completes pr ving sept nouveni, dans tour lessee sr difrentscombnasons dancin avec études de rythmes et dntervales, tos Du polnt doHgU6 sessssesseeseevese coo BB Des notes coulées : 28 Dutoure 9 Des ditrenes sores de detache xercles we Dela manitre de poserleson . 15, Delasyncope «.. one cetcreerees 196 Des notes eoupées ou jeées 137 Des sons fs, ens ot diminuts mer) Det ppoggiture 100 Du gruppetio es. m1 utile sous outs ses formes. Me Du mordant : 134 Des apiges 2185 ‘udes su es fren reistes de Fnstrument 160 CONTENTS PART ONE ‘The Rudiments of Tachnique Introduetion ooo... “The Origins ofthe Clarinet. Family Deon, ‘Qualities and Range Mouthplece and reed. Postion ofthe body, hands and fingers. Poston of the mouthpiece Inthe mouth ‘The sound and how to produce it Timbre. ‘Advice on slow practice. Vibrato. ‘The way to adjust e6d8 «...-.. Explanation ofthe chromate chart - (Chart of major and minor tril, Resolutions and fingerings ‘The Hirst sounds tobe studled. Long notes ‘The fist held notes. Chromatic exercises ‘Tolearn how to pay non legato “learn how to hold the breath ‘Tolearn how to pass rom middle Ato B (Chromatic sale “aking. breath aking shal beath ‘andthe manner of beating uances 161 Technical exercises (633 Practical dally exerises 4 6 19 230 0 a a a “ ” Bas PART TWO se study of sete and registos, rhythms arieutaions, ‘expression, omament and arpeggios Fist studs In major and minor scales, eommon chords and dominant seventh inal kaye 6 (Ghar of major and minor sales. (Both rypes of non) 106 Fory-five exercises completed by twanty-seven new exercises Inalltegstersandn fen bined aricuatons sah ein edt 100 a xa 25 cesccscevccscrvensensens 129 Dillrent kinds non egato 129 “Themanner of placing the sound co 135, syncopation : 136 "Coupéas or jeer. Dioceses IT Held noes, crescendo and diminuendo.. coe 188 ‘The appongatura . 40 ‘The gruppeto . coe ML “The til tls and held moves ua “The mondant coast ‘The arpeggios... 15, Studies in diferent regiters ofthe instument 160PRIMERA PARTE De las elementos del mecdnismo Introduclon clarinet, Origen. Familia. Descripcion. Cones ‘Extensa ogullay cana Poscin del cuerpo, de as manos "dels dedos Posiein de la boqullaenla boca ‘De sonido yde la manera de produit. Dal imbre. ‘Consojx sabre el esto lento. De vibrato ‘Mod de arregar las cans : . Tabla cromilca dl clarinet, con expleacines “abla dels tines. Resoluiones Digitaclones 40. Primeres sonidos que debe etulase,Sonidas derechos Primeros sonidos flados jerccios cromdticos Para aprendera destacar ara aprendera contenes el soplo ara aprender el paso del La del meio lS. Escala cromtica Dela zespiracin, I semi-respiracion vyde la manera derosplar Delma Ciena sesnta yn tices de mecanismo 1633 oferceios précticos daros INDICIO a oat 288 ry SEGUNDA PARTE Primer estudio deta excl yc os registra, del ritmo a ‘rttlacn, de a exraton, de fos aornes, de los arpegios Primeros eerciis sobre las esalas mayores ymenores y sobre Tos cores denen y de P* domsinante en tos Ios ionos ‘Tabla delaserclas mayors y menores| (@ eases de menor) CCuatenay cinco ojerceisy weit y see nuevos ecco ‘cn todos los eget y sobre cferentescombinaciones de fsrucalaciones con estos de ritmo y de itérvalos Dot alderéin elas nota igndae Dal out (Desecad pasado ene sony De las diferentes maneras de desea. Bjecicios Dea manera deacentua el sonido : Dela sincops elasnots coradas Delos sonidos aces sumentadosyeemincidos Dela spoyarua Del gupeto ‘De ein, en todas sus formas Del motdente Delos arpegos ‘studios sobre los efeente eos dl instrument. 20s 6 106, 18 19 129 136, 138 140 1 150, 156 185 160Principes Elémentaires de la Musique (o pat doe Gea pie sor a alee tee e noms, BEE Gueges ate: | Gielen NOTES ET SILENCES ‘Seeke,Quedreplrcroce tee int psi ey it i eg uni g DU POINT apes om lees, ae 3 gen ide deve valeur. axENPLE onal Ia slew Ie ieee se se Aroriee point at poner Teh whe Le sige te + egiar we wien ‘pyunrnse a gir len ae devel tone. degie eben: Stacie sop ergo targunent = Ada eta. Ailgr, it ge Mabie, ara MUANCES sf forte trie fort -Crvendo —< > ET DES DIFFERENTS SIGNES. riser acme erp, oun wana oop due nee prt; Ad tom, valent TRIOLETS da notes rags deans ie aga "egret ogre weds lew Deb a sir a st | tind? So be a La Gamme se compose de cing tons ot do deus demi-tons dans tes Hn BIATONLQUE MAJCORE.TCAMDIEOIATONIOUE MINEURE a | te i te re wi re (Om pel former ons Shelled yorPREFACE DES EDITEURS De toutes les méthodes de clarinerte, aucune n'a jamals atteint ni méme approché la renommée de celle de Ktos#. (On peut affirmer que depuis plus d'un demi-sibcle elle & formé presque tous les clarnertistes, des plus ilustres vit- ‘tuoses aux plus modestes amateurs, Au contraire de tant autres ouvrages didactiques qui ne peuvent obtenit {qu'une vogue éphémere, elle n'a pas viel et continue de Jouir d'une faveur qui ne peut décliner. Est-ce a dire que ouvrage de K.osé n'appelat pas aujour- dfhul eertaines retouches? Tout en rendant un unanime hommage a sa supériorité incontestée, les praticlens #'2c- cordaient Areconnaltze que sur quelques points de détail ne répondait plus tout a fait aux exigences instrumentales de notre époque. Du temps de Ktos# les compositeurs, par exemple, n’érivaient que tres exceptionnellement pour le regisie aigu de la clarinett, alors que les auteurs contem- porains n’hésitent plus a Yemployer aussi couramment que Jemédium ou le grave de "instrument. Il avait pu paraitre en utre a certains que la progressivité pouvaitétre développée avec plus de rigueur et que étude des gammes pouvait avec vantage étre augmentée, Les récentes rééditions en avaient déja tenu compte, mals ‘malgré cela une révision générale a paru s‘imposer, une attention particulidre étant donnée aux possibilités du debutant Eile a été demandée&d'excellents arstes ete’ biles techniciens qui lu! ont tous apporté d’excellents élé- ‘ments. Parmi les collaborateurs de cette refonte générale assurée parle éditeurs, nous devons partlculiérementciter: MM. Gnistz, H. Leresves, H. Dutacnom, A. CHAPELET, Capette, Roger Jeanjean, BLSMANT et HAMELIN, [Le gtos ceuvre a ét6 confi & M. Paul JEANsEaN,I'éminent solise, et 'ultime révision, la mise au polnt definitive a éxé {alte par M. Panapis, premiéreclarinette solo de Opéra. Enfin, nous devons dire tout spécialement la collaboration considérable et précieuse que nous a donnée M. A. Pénen, admirable artiste et éminent professeur du Conservatoire de Paris qui a notamment écrit pour eet éition définitive de la célebre méthode, un nombre trés important d'exer- cices et d'études, tant dans la partie élémentaire que dans les dogrés supérieurs, ‘Tous les éléments de la méthode originale figurent au ‘complet dans la nouvelle édition, mais certains ont été introduits leur place logique dans la progression, La premitre partie, consacrée aux éléments duu méca: nisme, a été largement développée et présente une progres: sivité lente, mesurée et parfaite; les conseils pratiques du début ont été augmentés ot la tablature chromatique a été cexpliquée en suivant non plus 'ordre des clés, mais celui de échelle chromatique des sons, ce qui rend plus alsée la recherche du doigté d'une note queleonque. Les doigtés dua registe suraigu, dont étude ne adresse pas aux commen- ‘ants, ont ét6 renvoyés & un article spécial, a la fin de la méthode. Les exercices du début ont été développés pour donner & {'éleve une premiere notion, non seulement des sons fils, ‘mais encore du détaché et pour mieux le préparer au pas- sage du La du médium au Sli, passage qui offre une sérieuse difficult pour les novices. De méme les 68 exerciees de écanisme ont été portés 16. Les exercices pratiques journaliers, qui ont passés de 141 633, constituent une des principales Innovations, Ces des- sins, dune mesure ou deux, ont été développés de manigre a cexercer tous les doigts sans néglige les deux petits doigts ‘op souvent sacrifiés. Le tava de la main gauche, qui arréte la plupart des élbves, est poussé a fond. Tous les dolg- ‘és naturels ou artificils sont passés en revue, la progression, s'élevant par demi-tons chromatiques de la note la plus grave de instrument jusqu’au Sol aigu. Glissements, chan- ements de doigtés, et, aucune indication propre facliter le travail na été omise. Pour des raisons qui ne se comprennent plus, Kost avait ‘exclu les tons mineurs de ses gemmes et arpéges. Cette lacune est aujourd'hui comblée au commencement de la ‘deuxiéme partie. Chaque tonalité majeure est maintenant suivie de la gamme et de 'arpbge de son relat mineur, ainsi {que de duos ot les figures rythmiques et les valeurs de notes, sonttraltées avec le plus de varlété possible. Un tableau int- tulé « Exercices sur les gammes » récapitule cette étude si importante et prépare A leur exécution rapide, Les quarante-cing exercices sur différentes comblnaisons @articulation ont été augmentés et regroupés méthodique- ‘ment en commencant par le reglstre grave et certaines études de Kiosé qui servalent jusqu'ict d'appendice & la méthode y ont 68 incorporées logiquement.Dans la troisitme partie, consacrée au mécanisme supé- leur et qui trite notamment des tonalités, des rythmes, et es particulartés de la musique moderne, la nouvelle édi- tuon présente des innovations extrémement importantes. Un chapitre spécial est consacré A quelques « échelles par- tlculltres » étrangéres & nos deux modes actuels, mals qul, souvent employées par les compositeurs de nos jours, ne peuvent plus ére passées sous sllence; gammes defectives, d’oit dérive le systime diatonique, gammes orientales & Intervalles de secondes augmentées, gammes en tons entlers ot octave est divisée en six intervalles égaux. Un nombre sulfisant d'exercices d'application familiariseront VYéleve avec le intervalies pariculles de ces échelle et les accords que leur harmonisation nécessite. Enfin, aprés la série des études sur les diférents regstres de Vinstrument, sur certaines combinaisons de rythmes, @'accords ou de mesures en usage dans la musique moderne, cette partie se termine par des exercices sur les notes suraigues qu'll edt éré dangereux d'aborder plus tot & cause de Influence que cette sorte de travall peut exercer sur la sonorité, mais que Iexécutant, une fois mattre de YYémission du son, ne doit pas négliger de pratiquer sl veut posséder un talent absolument complet. On retrouvera, dans la quatriéme partie dela méthode, les quinze grands duos, qui ont formé tant de musiciens. La révision a minutieusement indiqué les articulations, les accents, les nuances, précisé les respirations, les mouve- _ments; en outre cette partie est complétée par cing grandes ‘eudes nouvelles. Enfin une elnquidme partie comprend les traltsdifficiles ‘urés e’ouvrages symphoniques et dramatiques. (Cestun fait ’expérience que les artistes se trouvent expo- sé3 A rencontrer, lors de I'exécution, des passages périlleux auiquels i ne leur a pas té possible de se préparer. Il abien aru & 'étranger notamment, des séres de cahiers qui pré- tendent & ce titre, mais ces compilations faltes sans ordre ni méthode, ont le grave défaut de citer des pages entitres ot se trouvent, &cOcé de difficultés réelles, des passages qui ne éritent pas un tavall special Is ont d'autre part le defaut d'etre fort développés et de ne pas s’6vendre aux ouvrages contemporains, ne pouvait étre question dinsérer dans une méthode, ‘aux proportions normales, un recuell de ee gente, mais ila semblé éminemment utile de présenter, comme couronne- rent de ouvrage, un certain nombre de traits de composi teurs céldbre, se rapportant a quelques difficultés typiques etconstituant un excellent élément de travall La nouvelle édition de la méthode de Kiost gravée dans ‘os ateliers et d'une lisibilité paraite, est destinée& tous les Instrumentistes. Elle prend I'élove son début et le conduit pas a pas, méme livré & lui-meme, a la virtuosité il le désire. Les artistes y trouveront une matldze d’étude constante, propre & entretenir leur talent et a le perfection ner chaque jour davantage. A.CL.G.LEDUGPUBLISHER’S PREFACE Among all the clarinet rutors, none has ever attained, nor even approached, the fame of Kxosts can be asserted that for more than half a century ithas trained neazly all clarinet- tists, from the most illustrious virtuosi to the most modest amateurs. Unlike so many didactic works, which only obtain 1 passing popularity, it has not aged, and continues to enjoy ‘unwaning favour Isthis o say that Ktoss's work does not atthe present time call for certain slight alterations? Walle paying unanimous homage to its uncontested superiority, experts agree in recognizing that on some points of detail the workno longer quite meets the instrumental requirements of our time. In Kost’ lifetime, for example, composers only wrote very exceptionally for the high register of the clarinet, whereas contemporary writers no longer hesitate to use it as com- monly as the middle or low registers of the instrument. It may also have seemed to some players that it would be pos- sible to develop the progressive nature of the work more strictly and increase the study of scales to advantage. Recent republications had already taken this into account, but nevertheless a general revision seemed to be called for, particular attention being pafd to the capabilities of the beginner. Flrst-rate artists and skilled technicians were called upon and they contributed excellent ideas. Among, the collaborators inthis general recasting undertaken by the publishers, particular mention must be made of Messrs. M. Gnusez, H. Luvmsvae, H. Datacom, A. CuaPuner, Cars, ‘Roger JeaNyean, BufntaNT and HAMELIN. ‘The bulk of the work was entrusted tothe eminent soloist M, Paul JeaNyeAx, and the final revision and adjustment was carried out by M. Panis, principal clarinetist at the Paris Opera. Finally, a special word must be said about the consider- ‘ble and valuable cooperation given by M. A. Pémuen, a fine artist and an eminent professor at the Paris Conservatoire, ‘who has written for this definitive edition of the famous ‘Tutor a very considerable number of exercises and studies, {in the elementary part as well asin the advanced stages. Allthe ingredients ofthe original Tutor appear infullin the new edition, but some of them have been inserted in thelr logical places in the sequence. ‘The fist part, which is devoted to the rudiments of tech- nique, has been greatly enlarged, ands presented with slow, ‘measured and perfect progressivity; the practical advice at the beginning has been increased and the chromatic finger- Ing-chart explained by no longer following the order of the keys, but that of the chromatic scale, which makes it easier to Bind the fingering of any note. Fingerings of the highest register, the study of which is not intended for beginners, have been postponed to a special article at the end of the Tutor. ‘The opening exercises have been developed to give the student the rudiments not only of running notes but also of staccato, and to prepare him better for the transition from ‘middle Ato B natural, a transtion that contains serious dif- ficulties for beginners. In the same way, the 68 technical exercises have been brought up to 161. ‘he practical dally exercises, which have been increased from 141 to 633 in number, constitute one of the principal Innovations. These one or two-bar motifs have been de- veloped so as to exercise all the fingers, without neglecting the two little fingers, which are sacrifed too often, Practice ‘with the left hand, which holds up the majority of students, Is thoroughly dealt with, All the natural or artifical fingerings are discussed, the progression rising by chromatic semi- tones from the lowest note of the instrument to high G. Glissandi, fingering changes, ete.~no indication that might help to make practising easier has been omitted. or reasons that are no longer comprehensible, Kiosé had excluded minor keys from his scales and arpeggios. This gap {is now filled atthe beginning of part two. Every major key is now followed by the scale and arpeggio ofits relative minor, as well as duets in which the rhythmic figures and the note- ‘values are treated with the greatest possible variety. A table called “exercises on scales" sums up this very important sur- vey and prepares for ther rapid performance. ‘The forty-five exercises on varying articulation combina- tons have been augmented and methodically regrouped, starting with the low register, and certain studies by Kuost ‘which had previously formed an appendix to the Tutor have been logically incorporated into it. Ina thre, which is devoted to advanced technique and ‘which deals in particular with keys, chythms and the pecu- liarities of modern musi, the new edition offers some ex- tremely important innovations. special chapter s devoted to some “special scales” which are forelgn to our two current modes but which, since they are often used by present-day composers, can no longer beIgnored: defective scales from which the diatonic system ‘derives; oriental scales with intervals of augmented seconds; scales in whole tones in which the octave is divided into sic ‘equal intervals A sufficient number of exercises in applica ‘tion will familiarize the student with the intervals peculiar to these scales and the chords which thelr harmonization entails. Finally after the series of studies in the various registers of the instrument, certain combined chythms, chords or time- signatures used in modern musi, this part concludes with exercises on the highest notes, which it would have been dangerous to tackle earlier In view of the influence this sort cof practice can exercise on tone-quality, but which the per- former, once he has mastered tone production, should not neglegt to practise if he wishes to acquire absolutely all- round proficiency. {In part four ofthe Tutor there willbe found the 15 grands duos, which have trained so many musicians. The revised version meticulously indicates articulations, accents and nuances, and details breathing and tempi; in addition, this partis completed by 5 grandes études nouvelles. Finally part five includes difficult passages from orches- ‘wal and dramatic works. n tis aproven fact that atthe time of a performance artists are liable to encounter hazardous passages which they have been unable to prepare. There have, its true, appeared, ‘abroad in particular, series of books asserting such a claim, ‘but these compilations made without order or method have ‘the serlous defect of quoting complete pages which do not warrant special practice. They have the further failing of ‘being very voluminous, and of not extending to contempor- ary works. “There could be no question of inserting a collection ofthis sortin aTutor ofnormal proportions, butitseemed useful in high degree to present asthe crowning achievement of the ‘work a certain number of passages by famous composers, relating to some typical difficulties and constituting an excellent objet for practice. ‘The new edition of Ktost's Tutor, which has been en- raved in our workshops and is beautifully legible is in- tended forall instrumentalists It takes the student at the ‘outset and leads him step by step, even If he Is left to him- self, as far as virtuoso standard if he so wishes. Artists will find in it matter for constant study, calculated to nourish their talent and to improve it further each day. A.CLG.LEDUG2 PREFACIO DE LOS EDITORES. Ningdn método de clarinete ha alcanzado nunca el renombre de que goza el de Krost, Es el que ha formedo, desde hace mas de medio siglo, a cast todos los clarinetstas, desde los més iustres virtuosos hasta los més modestos afl- cionades. A contrario de tantas obras didacticas que tlenen tuna boga eflmera, sigue su fama sin declina. {:Quiere esto decir que la obra de KLosé no necesitaba hoy algin retoque? A pesar del homenaje undnime rendido ala superioridad de ésta, se ha de reconocer que sobre puntos de detalle yano responde alas exigencias instrumentales de nuestra época. Por efemplo, en la época en que vivia Kiosf, raras veces escribian los compositores para el registro egudo del clarinete, mientras que los autores contemporéneos tusan ese registro tanto como el medio o el grave del instri- mento, Ademés se ha pensado que se podria desarrollar Ia progresividad y aumentar el estudio de las escalas ‘A pesar de que las timas reediciones lo han tenido en cuenta, ha parecido necesario hacer una revisién general teniendo especialmente en cuenta las posibilidades del rincipiante. Se han encargado de esta revision artistas y técnicos de gran vali, cuyas aportaciones son todas de alta calidad, Entre estos colaboradores hemos de citar a (MM. Guisaz, H. Lurtavag, H. Datacom, A. CHAPELE Capes, Roger Jaanyean, Besant y HAMELIN, Bl autor de la obra principal es el St. Paul JuANr#an, ef solistaeminente, y debemosla hima revisién alr. PARADIS, TP clarinete solo de la Opera. Enfin, el Sr.A. Pemser, eladmirable artista y eminente pro- {esor en el conservatorio de Paris, ha escrito para esta edi- ci6n definitiva del célebre Método ejercicios y estudios variados, nto parala parte elemental como para los grados superiores. Figuran por completo en esta nueva edicin los elementos {del Método original, pero algunos de ellos se han introdu- ido en su lugar més logico dentro dela progresi6n. La primera parte, consagrada a los elementos del mec nismo, ha sido desarrollada, presentando una progresivided Tenta y perfecta; han sido aumentados los consejos précti- cos del principio y explicada la tablatura cromética, no ya sogtin el orden de las aves, sino segtin el orden de la escala ‘romética de los sonidos, lo que faclita el dedeo de cual- uier nota. Alfinal del Método, en un artfculo especial se estudlan las digitaciones del registro sobreagudo, que no conclernen Jos principiantes. Han sido desarrollados los ejercicos del principio de modo {que tenga el ahumno una nocién de los sonidos igados, del destaque, para prepararle mejor a pasar del La del medium al Sit transic{6n difell para los principiantes. Asimismo los 68 eercicios de mecanismo se han aumentado hasta 161 Los ejercicios précticos diarios han pasado de 141 3 633 y constituyen una de as innovaciones principales. Estos disefos, de uno o dos compases, se han desarrollado para que se ejerciten todos los dedos, sin olvidar los ‘mefiques, muchas veces sacrificados. Se insiste en el tra- bajo de la mano izquierda, que desanima e tantos alumnos. Se ha pasado revista a todas las digitaciones, naturales 0 antficiles, con una progresiOn que va sublendo por semito- nos crométicos, desde la nota mas grave del instrumento hhasta el Sol agudo. No se ha omitido ninguna indicacion para facilitar el trabajo en los deslizamlentos, cambios de Aigitacién, etc Por razones que no se comprenden ya, habia excluido Kost los tonos menores de sus escalasy arpegios. Al prinet- plo de la segunda parte se ha colmado esa laguna, Ahora cada tonalidad mayor va segulda de la escalay el arpegio de su relativa menor, y se afiaden diios en los que se tratan con Ja mayor variedad posible las figuras rtmicasyylos valores de las notas. Un cuadro de conjunto titulado “Ejercicios de ‘scalas"recapitula este importante estudio, preparando a su répida ejecucion, aan sido aumentados os euarentay cincaejercicios sobre “iferentes combinaciones de articulacién y agrupados de nuevo met6dicamente, empezando por el registro grave. ‘Algunos estudios de Kost, los cuales eran un apéndice al ‘método, han sido lgicamente incorporados. En la tercera parte, consagrada al mecanismo superior, ‘que trata en particular de las tonalidades, del ritmo y parti- cularidades de la masica moderna, la nueva edicion pre- senta importantes innovaciones En un capitulo especial se trata de “Escalas particulares” cextrafias a nuestros dos modos actuales, Pero las emplean autores contempordneos y se han de nétar; sistema diat6- nico, derivado de escalas defectivas; escalas orientales con {ntervalos de segundas aumentadas, escala de tonos enteros, ‘cuya octava se divide en sels intervalos iguales. Varios ejerct- clos de aplicacién han de familiarizar al alumno con los, Intervalos de estas escalas y los acordes que necesita si armonizacién. En fin, después de la serie de estudios sobre los diferentes registros del instrumento, sobre clertas combinaciones deritmos, de acordes 0 de compases en uso en la musica ‘moderna, se termina esta tercera parte con ejercicios sobre las notas sobreagudas que hubiera sido peligroso estudiar ‘més pronto, por la influencia que puede ejercer esta clase de ‘estudlo sobre la sonoridad. Sin embargo cuando se ejecuta perfectamente el sonido, es preciso practicar estas notas| ‘para poseer un talento completo. ‘Se encontrarén de nuevo en la cuarta parte del Método los ‘quince grandes dios que han formado a tantos miisicos. Al revisarlos, se han indicado minuciosamente las articul clones, 10s acentos, Jos matices; se han precisado las respira- clones y movimientos. Ademés se ha completado esta parte con cinco grandes estudios nuevos. Enfin, en una quinta parte se han reunido detalles diliciles de obras sinfonicas y draméticas. Es un hecho experimentado que los misicos suelen encontrar, en el momento de Ia ejecucién de una obra, ppasajes arrlesgados, para los que no han tenido ocasi6n de a prepararse, En el extranjero, en particular, ha sido editada tuna serie de cuadernos para remediar este inconveniente; pero tienen esos cuademos el defecto de citar paginas ente- ras donde al lado de dificultades verdaderas, hay pasajes que no necesitan ningin estudio especial. Ademés, aunque cextensos, no contlenen obras contempordneas. [No era posible insertar en un Método de proporciones normales esta clase de coleccién, pero ha parecido iil pre- sentar algunas trozos de autores célebres relatives a difcul- tades tipicas, lo que constituye un élemento de trabajo exce- lente. La nueva edicién del Método Kost, grabada en nuestros talleres y perfectamente legible, esté destinada a todos los Instrumentistas. Conduce el alumno, paso a paso desde el pprlaciplo hasta el nivel de un virtuoso. Losartistas encontrardn en ella materia de constante estu- io, adecuada para cultivar sus cualidades y perfeccionarse cada dia més. A.C.G.LEDUCPRENIBRE PARTIE [DES ELEMENTS DU MECANISME ORIGINES DEA CLARINETTE Leechatumenu ou foe cps da Ast Bojen Age gee des Iutbois sorte dechalumeaupececlonng pret de phosear tous ee sumone un pdt yas Sr agul se it une acte bata de blr ‘dental ron walsrblblement les ances de tnclrnene {a larineteproprement dite ut nventée 2 ‘Nurnberg ves Fan 1680, prune sort Jean.Chrstopte Dower. ft tle snp des itruets vent et en onaifalorla bel pace que devat orespec ta four No possdant que manque régularte dan a succession e tr diferents teu le ohn tt espe ‘Copendant, certalns arses, suits parla bene defo smb, cherchtent A amd estima qua progenitemen ono desee See ae cg oe aioe fn, ran Mum apport de ands pets: slarinete 319 elt; pour a fete de corais bogs on ajo parla suite qualgues ssp pleats ‘appro dela ciarnene 81 clés opéraune olan empite dans Tesde deco ite rmentqul bien qvimparalt encore futher {Gud pr un und nombre de personnes Le Jou der crinetstos alos considerable: tent; plisiewre tine furst tte apprelee Frm ooxon dttpiaer supreme ng td Bem Sos ns dng ia drt evi ‘escoonalances theories aesriet ist fe ses composidons, le tus de fondateur de ezee angie de carina ‘CependantonGtaleencoreinind roe donodt instrument tout la erecton dant at ate ple La slarinte meni te pecte apres eeartementeatrel des dig, sen rater ‘setrop delatanes Lemdeaneme des pra (alt dos difcules prague nsarmontabien de oie nase pola cringe bere do jouer dns tous es ona init portune de ais arinetten en Ut Sib et La "Hoss dsiple de Benn, guava asc su Gonsermtote de Magu de Pry, dap 2113 esl syste des annorux uns par une gomedia questa omeaaatinnoréen ‘Aetnagne pour reméder aux dace dele ‘tte Quctzceperfctonnersats de dal ent {uch pour assur ba cnet we ste ht paraite que prsble dans toute con én ue opr amicn ‘THE RUDIMENTS OF TECHNIQUE ‘THE ORIGINS OF THE CLARINET ‘The "Chalumen oral fae of lu, ‘impo trsbark or red ae, and the od "C- lumi of ie date Age & member of he os uly aso of tmpoved“Chalument pr tit many hes and topped ya mall ube 0 ‘ohich there wae fd @ movable ond made of ane or mel a bale nc of “The clarinet property called wa mented ix ‘Narebarg nebo 180 by singe ‘mont mate named Joann Christoph Deo A {he str wa he mat ier of wind tn Srumont and nohing sug a he ne the IRonowable prion # woul one day axe. Poses on ane ky lacing evonnas i the cs of fret rele gine oy Ite empathy ere "Neverthe, cernin plays, seduced bythe enty fitting to prose thas ‘ha the mumbsr of hy aso fie and Ure ‘mained ong hata ‘Final na Mt typo the se ‘mon and noduced clare with 19 gst [ett ceri gern sme superna ‘ys wre added te ‘The appearance ofthe carne with 19 keys engendered complet olution the dy of ith ahh tl per, oe and ied mar} The playing 9 larinetst Improved conieraby evra, Indeed wore hight appreclate. Among tee ‘Fredric Ban mt be placed in he ft clase. ‘Undo hi figure the clrine aca I rane hi Biante ane the rage of ‘Meo! nutes aretha lo hs Serpent lf founder of te Pach oss th crane wat sl far from the porecin of which ns capable The clarinet Tad ben pot acoding tthe ata spread {the fingers Fro hs thee reed fy {onaton, and notes thar were mle. ble or {loud The mechani of hs hyn resend imo insuperable dficalies of ngering not ‘lasing the clarinet te fred of plying ‘hy at wil From hs roe tency a ‘eo ata conven of thelr InGaparanda, Rt ppl of ho he sce at ‘ho Pars Comers, linia al hse fs by appbing tte crn 13g the gt Sf ngs fed ya mann rd which Thera ‘ator roe n Gera to cone the sco tet 4 fw further Improvements were fected among ham the aton of bar 0 if hand ody oer as pre an nna a posible chroughou ie range DELOS ELEMENTOS DEL MECANISMO ORIGEN DEL CLARINETE probable que los antopasndos dl carnete ‘Ansgbedd, hecho deca ode cor de tol, tspecie de ara pefecionad, con Yaris brs ytrminade porn pequeo oan ek fue seinseraba una lenge mov de mado © deme "Hl darn proplamente dicho fe inventado a Sree ha 180, por un guitare ‘dm otal Deen. Een ere ‘Inds imperfcodeosnswuments deny ‘nada anmncaba el hemos puesto que un dit hasta ef Sauk 6 desde ef Sth hasta ef Lab 6 vice verse ah aR Seb eth eee pect ater AL24oasBs util ef dedeo del Kjemplo N°2 en en estilo eromitico yon cinrlas escales diaténicas (Toros de Fe, Sib, ee.) utile cromatice Bo util of dedeo det Bjemplo N23 en wn encadenamiento Se obtiene et MiY 6 Fab tapando sto tos agjerondelpa gir y del indice de le mano taguierda gas Abriendo le Llave N° 12 se & ——obtiene ta doveava S14 6 Dob 3 8 S obtiene ef Fah, 1° nota del segundo registro, tnpando solo el agnjero del pulgnr de la mano tzquierda; g i Abriendo le Lave N? 12 se obtiene ta doceava Dok iltina ota del 92 registro ff De dos modos distntor se gjecute et Fait o Soub: 412. Tapanto solo el agrdero del indize izguierdo, 28- Tapando ef agujero del pulgar y pisando tas N07 y 8 ablertes con el indice de le mano derecha: 1 Hjemplo 2 Lleves 00100 5 3 ¥ ta Lave 112, 50 obtiene la do ceava Delf 0 Reb del registro Ademds, agregendo al dedeo 5: dh ee Soe gu pecden GA 5 3 guido, Se wson poco enon deteos 3 8 excepeionales. fs & ° Se great of Sa on aggion gion deepen y ot ciate ake ot Cigar dealer ees Dedso Excepoional: = Abricedo le Have 1212 ¢obtene le doceava Bech det regisiroague: © & At principis pare egwanter con mit 3 Not fovittnd el inatrament, tambien Sep fo. 8 ‘par elagsjere con't) anster toguierds. 8 » Et Sou} 6 Lab se obliene ab ladice isquicrd: Abriendo la Liave W212 9» é citiene le dooeasa Reo Arb 8 del registro agudo: vdo la lave N29 con al fe Dodeo excepeional: 0010008} Se obtiene +f Lat abriendo solamente ls Llave N° 10 pi- ‘gendo af mismo tiempo las Llaves N™ 9 y 10 con ef indice Exquierdo: Dadeo exoopoional: = Abriendo ta Llave N012 se : at sh $10 obtione la doveava itr reeistro anudo 00100 Otro Dedeo Exceptional Pambien se obliene ef La\ abriendo sole By ‘mente fa Llave 10%. Sobre todo sirve ‘para trinar, pues a veces no sova preciso Sobre sma note large. 20015000] Bt Sth 6 Lat del medio se obtiene pisando,a te vez, ls Haves 0 10g 12 con ol pulgar y #1 indice de la mavo igure. eS Dee Eesti = Tambien se obtiene et S1b By pisando a ta ves la Llace Mo Sto Bi Lone fadioetsquerdo y le 8 3 Glows Weaoshton ef indice 0S 3 derechos Evel mis justoyy 8 Linde etero'y sired pratt. 8 star La con Sib. Produce wm Sinan poco dsfectuoso la Llave N11 ebier. te con tf aie tach, pstndn a iomo tcp tLe Nexo abierta con st ndiee ixqrierdo, Solo se emples para ‘rinar’Lah-Sth y Sib-Dob jomplos: LAL-SI4 S104 ar cocrooog! = covrbooogl 3 L24030 "TABLEAU DES TRILLES MAJEURS ET MINEURS seins ar rene lg Le sigue w signe te deg 0 Is Cea Yo fa, Lesigne 2 iniqu qe tndor de sain gute ance su on annene tas Te dbase a ‘Ge gales lee ene ce oi et mes Ta poe sae tore inoue Gurl et Ie ane supllate ds bauzment rl, rns sgn as pe ele dave Se obiatoement oxen pat CHART OF MAJOR AND MINOR TRILLS ‘Ther eslion a tee diferent fgerings The sign rine the fg o ey whch sto bemoved fo lng Thesign & ineaes thatthe inde ofthe tf Inand mas be paca ons ring ‘thet stoping ft tnd om the Ay which Is placed benwon ths fnger Sse mie ger The tne note mith 0 sake trough 2 idcoes sec i th highr of the lb des ot sg ‘hat th rl mst be necessary bean on tine TABLA DE LOS TRINOS MAYORES Y MENORES "Dieeosepincones par aces sig inca ef ded 0 i Live que de move pire. igo 8 inica qu et fatice agin aarzatt sob sll sie ssa y ane nL qe eet ‘soca ete exe eda eet, Le pene nota stata iia I ota spin lo, peta aspen qu sess Digan empezar lb cnet nl, L249 Same sgn3 \000 #00\000 e20\000 e\o00 26 (00: o\ooo eo0\c00 ) eoo\oco ezg\o00 11) ecciooo Beee\o00 glooe ) so0\e0 Pe H Bp, cases al: eoo\ooo | HA? ‘e00\200 exo\000 $e2*\000]17P, = ee e00t000 es eo\o00 Je0\000 eo\oc0 eoc\ooo HH) coo\ooo $ zeglooe = e0o\ece zoo\eoo c00\200 gb beo,\o00 200\200 ) zoo\ooo e00\000 oeoo\coo | {200\000 beocioo0 Eling Safe ‘e00\000 0\e00 « e20\o00 2 : é 000\0004 2 sag\o00 ea\ooo eodbcoe Hi 2 ees ooloeoe eeZo\o00 \ooo ‘o\o00 Fooce i ye nooo\occ# H) ooc\oo~ go0c\o008 ooc\ooo" 000\c008 00\00% gooc\o00e MSoc\oooe coo\ooo# gpo\ovoe Soo\o00% Egoo\o00" Vgso\c00~ e00\000¢ oaoo\oo0- ‘eoo\oooe g00\o00# a) /2000\000+ e00\o00# eecatoaoe feco\ecoe o0\oc0e §| coccloooe Pecolo0o# jeoo\ coos 200 \o00@ sco\oo0 o8\o00 jooeco Eooe\ooo 20c8\000 pau Ja000\o00 #2008 \oco coolocoe = So00\o00% oo\o00" Ypoo\eoo" Boco\ooo# Poo: ooo\c00~ 200\0004 jeooo\oo0~ ‘oooloce = Zoco\o008 x252 '2o0e\00 1} ove\oo0 Ez00e\oo0 /=Zooe\coo coe\eco }008\o00 Jooe\cco Zeoce\cce e0e\coo Soce\oco Soe\ooo Eeooe\o00 8Z008\000 o0e\o00 L 2008\oo0 o08\c00 Becostcoo Eecoe\cco Je008\o00, #2ece\oco Jecoe\cco Bfille=eccetoco \ooem £20ce\000 (2008000 s008\000 Is20ce\o00 jeace\o00 =2.008\000 Yeooe\c00 #$2008\o00 Ha -008\o00 Hy #2008100 Ipesseess g$00e\000 |ze0sto00 |2208\000. e\eeen= Zooe\coe,« 200e\000 Booe\o00 #¥2008\000 sonye! [Same farina. 3 e2008\o00 Zo08\00. Doel see\ecené 43 fet pslooe po\oce ty ‘et ay) po\ooo 1 all photoes es Rs WE fe}, ——_ ue fo e\eoo lee glove fooo\o00 e\e0o .gt000 .0\000, sglooo jocoteo0 ecota00 te Jeo\oco FBoc\ooo Jooo\oce joojooo feo\oae tes selaoo sol000 \e00 joolooo fo0\o00 Au24o2s00 ooo [hy etl I. Witte: \oooe \oeo# \oco8 Je\eco# 1252004 "ooo" \oLoe 000" Feo s\o008 ei =*\o004 jo\cooe co\o0oe fo\oooe HRatoooe ojoooe \oooe \oco# Noes fes be s"\o008 \ooo# EDS, S1il/Footoee gil ‘o\oooe “El Hee teEo* >a Hbco\ooo a lo\oooe >x!II} Hele \ooo# I soo jlo $l e Nooos po\ooo Ube\eeo \ooor a jeoow seco [CHAS Sce (es fs Neo [es ooce ootoce gl 41 jooor Ep Heleeoe ai hboo\o00 asl \ooow >y!1/| Hep\oeoe ee aL24925PREMIERS SONS A ETUDIER Ls premes tavaer de 1etve dent tue covets sox faons Gots Pat cen ete se (d'sm fa aoe tat pa un oop nee, {Tenuaiavee aie ens et sn ondaltins ots an bere mart po ‘efoms a ectesiue des sor veer se one ‘nena sons 6 ji enero, Tp cme na ts unfoome, cl ie et Jes icvals gl sep es notes Le mowemen des exemple sivas est 4k ‘elon de excesan Lv ql vor pce Wien port ter so comet lence here ogo preci oee\eeee t) uvny the sown othe Fred ot [ig FIRST SOUNDS TO BE STUDIED ‘The muden's ist labours shuld be devoted to “long notes” Ta tat hs hnd of oun te note rus be tacked by tonging od uid fhe me ins wiht vation roughowt its ling avoid marking wie fers @ sucesion of hots bond under opr mark. The sued must hover be itraped ft mast main fr Strength whatever he intr separating note. "The temp of th following examples it atthe isestion ofthe performer The dent ho wishes {oor how to place Suds wl wil eg som, {sling cor of wat gos befor 35 PRIMIEROS SONIDOS QUE DEBBY ESTUDIARSE, ara empty, smn ba de esi Tsien dts’ Patni dobsta ato wo gee Ge enpua sony ste erm ain ot tm feta y sin onions Proce gut Sn es to een Dp abs Tigntre sonido och Se dhe fee, So tunenrts enfomenei cota memset ‘Slsqia qe sean otra ce ls os Tl tempo" os ejenpos lets vlad sat genome: Ea gee ult opener {ma len es sone ba 6 emeae nae, herano gu or iho. cod\oooog) w sound of the Fare note well on tothe second, ac if only one note were Beta al 200\0000 fata ane sels me. aes as, Be precon conwcir Bien of sonido de la 1 aL2i92526 Rider ages 0 esos onates eae | Apt tester cone been te dole | Rapa vi ats suv xe eta chai bare en Rep secede | ae eye gs me i Ss ever es Spoue. ‘ang te shoulders . les homie, oes seoavees secums a : 3 $= FS Rio | ats & Fee Se FOURTRS ouannas punres COARTAS NT es eee eS nes. eS i eS Bd SS eS Cas quixTas Noa a a BF 5 = 7 a = 277 = 4+ F = —, ~_* TaAL 24925av2teas» NIDA NI28 N229° AL 24025PREMIERS SONS FIL THE FIRST HELD NOTES May nto PRISBROS SONIDOS FILADOS — Tres tents , ; a N30 — pS = => SS SS St ap epi oe het Trenton a Pf>P pnp Lent “*° Nae. oS pin pp ps mT p din. pp Pnf=p tim pp p—npa—p dim. pp pag=xpam pp pag p am ‘Bem it P=Hf=pdin. pp p—nf=—p dim. pp pof=Pdinppp s 2 2 ee et os wu» S = SS = =p tm. P= p dim ap tim ae PSP Gee PP PATS tins be pap ain. pw ppb They PP = S Cs Ss Fs FF TS RS PVG=p tim. pp PAF Gm. pp PVP dim. pp PHF P in. pp PI Pm PPP ie oe eS EXERCICES cHROMATIQtES f cunowante EXERCISES — EJEROICIOS CROMATICOS =p = > = => aR eae 2 SSS SE 18) Avec index eto ponce | Wi te ne pageants [oon ites yo paper GCL er he ee fun te A yp 1p Ne37 i #4glerangae Ie dminasor, 0 gm y Our aenineaon SEY Feet ted ke ; 2 4 , fe ee Inc NPB 9 EE 07. lv 9. ve HP POUR BIEN APPRENDRE A DETACHER TO LEARN HOW 70 PLAY NON LEGATO PARA APRENDER A DESTACAR rer nar enrol ndiqces. Atcarfrancamene_sparar cde senrane at Sri tae cca Antaquee frame pont MTG, ever ehagy onde al N40 See ee aE mnie y rend ct aLzigasa srt mana apne gy nol nas. steer on age y per onde act, renyPlythaie Bien riemado p Tres rytnme Nea fore eS (0 GH NET Uh Rx 4) se 0, AL 71925POUR APPRENDRE A RETENIR LE SOUFELE TO LBARN HOW T0 HOLD THE BREATH PARA APRENDER A CONTENER EL. SOPLO ‘el iat su es lees me ranpicr eg cdgltodgen, oe plo pm rer te nu24925“4 POUR APPRENDRE LE PASSAGE DU La DU MEDIUM AU s7 10 LEARN HOW T0 PASS FROM THE MIDDLE & 70 B PARA APRENDER EL PASO DEL LA DEL MEDIO AL SL GAMME CHROMATIQUE cunowarte scare BScALA choMitica Sons FiLis (Voir apedo? | #8L0-80055 (Ser pax so) | somtnos rates (tere 40) Whe sans ananer, 2 fig P 2 L292a DELARESPIRATION DELADEMIRESPRATON | TAKINGA BREATH, TAKINGA HALF BREATH | DELARESPRACION LA SEMIRESPRRACION de aman ce espe nd the manner rating "eo la mane de epat La resption se compose de spirton gu et | Breating consists of inating, whichis the ino | La resiracién se compone de sian gue es Wintodeion de a ins. is poitiae et ce | icon of rio the cher, and exhaling, whch te | ta intadieso del seen eco, ¥ eta expsisn Fexpraon gu en eat Uexpuso, Dane cr deux | ts expulsion In these to movements thy fngs | que ex he expatica dl mina ts. En eos dos ‘movement, es pours fou Tofice de sufi. | Serve as bellows, Condored In ralaton othe art of | movimiaos Tos palnones face ei flo de un ‘Gonsldres dan st rappor avec at de our dela. | clare playing breathing conus m accomplishing | fol, Cansiereh ens Telacots coh a ae de ‘une, a respiration conse 8 scm ls eet | ‘hese to. phenomena of ntling and exhaling | tra el Clee, la espracin emis en Hvis 3 Dhteontes ce spmn ede Texpeion fans | ‘thu midraving dhe moulpizce ram de mouth | eo es dos ean: spac ya expr, oir lebe da bh Halbrething consis of sigaly opening the tio | $i sacar labogul de a bcs. a demiesprtion conte A etroure& pine | cornare of the mow soa fo fake in new Beate Yo | "La semesplace consis co enteabtr apenas Jes da cole dela ouch, ata de epecde de | continu plying ter Indn de fe bocy, cm sbo Ge Tomar meret ‘owvelles fore poo este’ exon “Breath howd meer be taken ona Barts, unlese | furan ancl coc ‘Ona da jis espe urs ae de mesue, | marks he end af pve or pment ofa phrase | Tease debe spiral finde un comp, sr fain gue e are laf del prise ox 6s | To aka compl Broth arc he td of @ | qiemanped Gl els ase oda mami dee. ‘panied ps. please, ore pedal point shold be awa. Pan rsp commpletanct, es pec esperar ana "our vesprr complemen, fat atendre en | "A habeas lr mon often taken on cote note, | pan sen erase owes sles ue tn de pre ov up roe offer having sounded theft ot of bar La Seniespicin Se fone mis feevesemecte TEndetespiion se pendlepl soornt ur ex | "i incall to take rein aring each | ste ds mats pends © despise haber cago espns ou prs avr poe In premiere ne | ret above alin ayeepatine is pier nota dn com. ane near ‘nen begining to ly one should not hry to | Hsu deac ny rads tsp en cade snc rect sn dot capital de resirer sar chague | take a brash Ishoul be done slowly and na may | she to gos cores silence, rout dans es coretorgs thar is not perp forthaze efforts areas sing | ” Csmndo te comarsa 2 toca, x0 e8 secesnio ‘Tongee Pon eommesss 3 eae ne fat pas se | to the player as they are dugpracale to his | spresuacse n tomar respi es preciso hace promer de prenre su reindon, ii ie fake | listeners Kenaments de manera qe no oe org ee [Enement ed mani que ne seh speive ‘clues son tan fain pe ef gjecane mo pace ue es eos som ae fens pose ‘esr pura os qe lees Frenezaont “qoe secre parce ul Peseta Denisespintonindiqne paronevegue: | lp bresth shown by 2 comm | Semisespiei nen por una coma ti x a, Be eit ‘On peut respi sur ane de enue asad le] Broth ay be taken on barn when the leave | Se puede resp en ef dim tempo comps seed lage vo trmioe veo mes nds ie bar tan so de face ermine lompee DELMATIZ st parle tases gue Von pod tes plus | Iris by mean of nonce tha the most Beal | _Loxtello efectos en mise se posure ot os DELA NUANCE nuances Ss mms eta eate | ty mee nc ie net ea! | teases ares Soa we es ee aS | ee Be at te" coin | Sere tn Mo ae ie SE ee ce a ree | Sememnacie gee mune Sn | Se ness Sees ies eae nce wap | ROCHE ME my ofr tt nt | ny san ieee ne mm fi en |i orate fe eo i yi ts el wl i te and | a oir ic re rt, | Si wp es serene | Saree fen, ifsc ere becin | Bcmnvieteancnbe clcaleelteaal Crome nce48 ous stays SERVANT’AINDIQUER LES ‘DIFFERENTES NUANCES DU SON 1 dla maaire dels obtenit. 2 clo sles pcpe set interes sith sc oni ng nd ot tse ie obo Soi at tes fk pa at Sopa inn dona ne, onder eto i, psp ont akg eto Cop ep dose, ‘sate ce conbie cae ota Eo cah wine Bakcomonen inde ea do cones ft Sera cnot fp pn Lec Sp Sees anon ee ler es cee, Sime jo efor Love ete ieee dita i eget ‘oars oe orate x avet et Saloon orl pao ‘rdiaeen long csp ot tsa ne soi oes ao cst wre Sows On det msi ue fon fa set coe ‘uncer it es tale oe Se ‘oleae Sai gt ft pate npr on op ae toe te poem paves Sqn oe: On mone va Bt tiinemenes Se ape ie cin os de patie 1 fw ‘mms pe Spool pdtemet son qn ie ete pr ps Te die ae pio poar fea a apo pt ot ognenaton ca dinincten das snave un pec en on ce eons ii cerns sence dined is ined cence ten vatign tro ooot Ie et ron fo tsa we ot ene ge te rotcrc om pt pr gone Biceentasce oor oie tio ets etm de sms igre dap ns ear Sedna pe ita pina) sme 2 fon oc ann, a abe Fela) nti meno pie oa bio ei Fr trent fly den oe ems pectin ne aires wo imc reo a Fiesta {plone wt ee cosets pp ou aise sae io te pes © pow nae fs rode ern Tanger i ance p sb ve inerope eps Emme fpr es deux membres den prase par un silence {tnemeat cour, ea eeant Ie soa pnd on Satstbpine see a sem pace mayen, Pratement ese 1a Zp lori) plac sous va wt sone Ante snd ge pote ct por se a ae ett do (oranda action gue su Is see ade dengue Se owe pace; Sous ne valeur longs td orsando ne ae Ie “ale une rece cs un mowvermest ey ne ‘ou croste dan un mowvemen vi SIGNS FoR DIFFERENT 1 TONAL NUANCES ‘end ow fo obtain them Tere are five principal signs indice the ferent onal moc 7 Te sign indiana rund ati fori, {cid ond sercned To obtain this sande ote ‘mast be atacked by precte tonuing and he sound mat be sured en, iho bas, rough? ‘he lng ofthe note, patsge or ran plete pare, sound 0 otal the note tat be atached by gone tngung. The ey fo ‘produce and susan sound the Same for ht ‘ce loud sun. > Tales thar he sound begins Lully and Fadaly diminishes to pana. Wen ths sign ts Placed infor, ove should atack wih wgour and limits zz. When, on te ater hand sme lh pan, the ne under ich Us fond ‘must bev sgh reinforced and then Tome dint econo ae rua, wher ths sgn is placed beneath a othe the nee is played fe this i often ‘niinerprtaion. One should ar soon ar this ‘hone far brs dnt de Sandon aes tat te ound mast be placed ‘a gone tongung and praualy incresed 0 [ort Te mat ofthe nore under wich placed ‘ould alvays be respected. Sees Tae sgn I the combination ofthe rt pcodng ons, The sound mast be bear [ano and gradually erased ward the mie of {he ate ih he dest pre the iid i ie ae proponent, ao te ‘When he augmentation or dininwion of sounds ends er € ig sech, the ward eesces, ‘crescendo or dimizendo are se or preference. Tinfazando & a more aque cesceaao and is Indl a0 "he ord ea or tm placed on note requires ‘thar Be el ae longer The sign is ao ward fortis "To indicate the diferent degrees of inensiy of sound the flloving signs corresponding 0 the [llwing eprestion ores: pp (ies) avery eat sur eno woe) na ow ves, ey weak, 1p (bate) weak sound EyPMoece pam) © semi-venk sound, lf srg i (ez voce) wih alfa voce (Le the vice fine tariment "a (mea entailed F et ‘PF asin) very ud Soeses pp i puto inate the weakest passe breathy and ff to indicate the greet ‘ome of sound Where mance sito salen eras «| Tar ‘pene seperate to pata he prey #7 ert ‘ast holding the breath for Searcy perceptible tant The fect wil be rendredperfely By tis The fo (loco) placed beneath a ke is: tur dae br er mabe) played ts nd te fling one lao. if (stoi) oniy har eft onthe note Bow | wll placed On lag nt the eft ofthe Moco nly faz forthe ae ofa gue tn stow | tine and ofa semiantr na fos omg. | _DELOS SIGNOS QUE SIRVEN PARA INDICAR. 'LOS DIEERENTES MATICES DEL SONIDO ' la manera de obteneios ay lc sigs praises que seve pt indine Joe les eso "7 Ese sgn indice wo sonido dest, foare y sald. Bs pred aca le ata cout aie feng bln seo ysastoe gent el soni, in ndscine, nt fogs a drain oa et Psajeode lemeleda. npn un sold ecb y plano Pasa cbszseo esTaeesio nat ten un gle = eng ‘uy sve La manta de conduct y tee [misma gu a desta deco oo. a “nis que el sono debe comers fie ingyen hast plane. Cad oe Sgn ‘oleic en un aie fre, debe siace om ian, clsneayendo ftw ner fore Por ‘eats, cums se le ensinin en 80 iano, es frecuo ‘fort aca bsjo Tn cl re hale isn pronto win llr SI ea COrdcsnmente, candor halt So de oa segs face fee Exp ex on concent, Tan ‘rot como seh echo ser eae mals ee {Ermine son bee valor mismo def nn ‘i geal pao Taka qe e6neosto atc el soaldo on un ole de eng sve y vate posi ‘mene, basa Negara“ eked Sempee ee ‘Se lar sao axe neat sgn os Ia reunion Ge os ds pele: lndspesnble cena iano Ysamesargadsiment ef sonido fate In id, fuses to funy despa chemin ena mis ropercin para ea al pan, puted ara. ‘Cuando el aumento 0 disinacin del sonido stare eipico grande demic eloness ot tes Seep as laos reed ‘Hrnorondo stom cessed ms bso ses lndcsclnat sn: tao Ls pula eno 0 ton, clas sobre une nt go tee ds Saesn sv pence Pa nica Tos rns grades del sono, se san lo algoos_que esegeida se anon, gu ‘oresponden als enesons signs 2p (pinto) sono sume sue {Sota voce) ena vax bo, Save, $F (eon) sno suave ‘(mez plano) edo suave, sno ain, ‘in (eras voce) 2 eda oz Caplan We Se refer elite). “omer fore) a F tori tore Be Corsi) uy fae ‘gsr veces se ponen ppp pra exes el spo spi sue posble JF pn expres Ia mayer ‘Berens nis. ‘Cando elm publ lterampe us fase que palleyaeinaa eam ¢s reo separa los dos mas de fase cm nt pis cosine contend st solo sm momen ‘mamete cro, Rests pose (BP ota) et mr coe lncca que la 3 nota tj a cul et colon ese sign de er fey sigulets plano. Ely’ (jorande) so tse elec save a oot. ‘jo a Sua ad eolocado bajo un valor argo ‘oraan 9 ur més qu el alo doo core et movimip tno 9 do aoe Semachen en el ‘Bovina vv,© (CENT SOIKANTE ET UN ExERCICES 11 TECHNICAL EXERCISES (CIENTO SESENTA Y UN EIERCICIOS ‘DE MECANISKE DEMECANISMO cs exerts at pour tu de fomerle mécrisme The alm of thse rece 6 wala te nara sos eecels.tnen por bjelo formar el de Mnsvumeatse ea hubiuant chaque igh agit ments’ eclnigue by geting each finger used 19 meni yacostumbrar cs Gb 8 mOWEE pot ‘Sartoeat sl snulunéaea Morin, ihr separately or teger. ‘Spuado 9 snulaneanente ‘On ceva Jove chaos ese 6 08 10 fois et "Buck bar shouldbe pla 8 or 1 mesa ened “Cada sa deer eprine cco 0 dee veo ermine sor lane onthe pa tema con nea [esnnenl 7 jd0a0 Sjagegeg ze eee Soule Sse “ap AL24925am pres I Se Sa pa52 6 EXERCICES PRATIQUES ET JOURNALIERS Le profess opera i dot ke pser names tundtent ceria erecices pur Is reed ps "ad tant eur gl aorea Ie epte a Reps pseu fos chun de cs esis sgl ce quis exea aoc Egle egress Tenjou har alla argue un beau so. Eder {Tato teen ot ent puso pls ves fear comple Get utes ines, oi te let uptrour sq alin ds pose ‘es enter soot cools dan Te deaitme wei, por de nowenst erecier sr cerns “cue techniques reat de empll es fumes eels de I game en tos enters, [tend de upton, de sessment (693 PRACTICAL DAILY EXERCISES The teacher wil decide wheter be should tmpo- ‘arly pass ove eran etrclies 1 return thom Iter, nowy tase that approach he high eter. "Repeat several ine eck of these patra unl they com be pay lity end eve aay Ek ihe sounds soas to acquire «Beil tone. Precise Slowly at lst and then more ond mare quicly th regard othe dynam mark ut sore them cry, ante ahor fan hen he ‘elias hee been overcome ‘Those cutee shoud be poctised on oce ‘phe anti he eile iis sche Thao exerts are completed ltr in the second, ook by farther cercites on cern tdiical iar reabing fromthe ne of ret seals, the whotetone rela te chord of he angmanted JO ts nro (633 ENERCICIOS PRACTICOS DIARIOS 2 profeojy , d mament, bel dito cise gers prs enn no a ek pcb es el gsi ago. "Replies variar Yom edh on has gu hg con Igy geen, liana siempre in Torte seid pero. "Al precio es predso esr lenient, seclen hego si lomar en cata Los maces Inthe; candy xa vane sialic, The preso rabaiar star ejercllas ala octave pty te alo come sea ple, "Er el segundo vohumen, bay oes cecclos oplemesian sie In ies wees ae {eran Gel empleo dele erase iil, ng ‘coals Ge toe” completes del ace de 3? Sumetada, deus aversion, 4 aoa doit 2 uti nts eats sons ieee pee ei ameet Bele mhltemnanay mera ‘rigst ey). ta Eeyo. nied getiiogee acigeere aqitpeaun die chats, EERGaa” Ghose” Ghia Roge iene vibey i ra z= fo aee rit aang Beh eens SEGRE NE, Aten tit egcentee Eg tg risen fas tee? rset Ee (on tet ethers eo dings 5 Doi srcor CR ro Tell ntl ei tan ‘atone Une, Lorn tt ee ego ‘only rr ta ae. “defor trate testes Coon 0 Boge rensthahy pring Fgh) 34 Settochia Bcsenrtnn, tobe Afoe eee sus reseoy right) Borghi)” tty tanebe nh aL24o2s net HE it isun nyt mie A Map RiPone Of withthe tle Tobe te Bombe Parrett trite Fe tothe fo Saimugietttivamace fee ieee teri ana). flr onthe rc10, 9 @ cw & fo Uwe A ae, Bono ion Pe 2 SPP er Par 3 Li ‘tl rm gt a oe ea iB ties) Dear ae ef Sl frat of PY am Heard as is a wa 35 eM PS poresid fe played by the Tle finger 9f the eft he 0 SORA Wine Be Rae dade se ime Pa ogo Hida ico whole st fliegen ke aly ‘gasesvieaiaat 3 (Gu W8) eae gene ti ess (Gude flat hi yo) ond with ot tatrpting te ite etachy taking fay ton igh ey chine n'ont \ a u ally se “Il . : ‘ an 24005590 aes i pe dae reg = 65 BE fuer — Fur aie ee aera L292(a) Lswen® > y'8 (anaes derek) “ae Sip Mes (ar fae of he : 83 BE8 ows Rin nd i a tort tt ee 0 AL 24525GE ter am 110 (0 co ta ae nce. 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Watt feel a fera on, (AY Fowee |) rd, | ror ‘Bifotee [2 donne |e (er rt pra, L292305, 3 = — aL 24925Lato‘ume mune gloat ans qu’ sot juts decane dee inoue eda epi et oes Sot Sol Loy tb du ann opt pour ‘ese on oct were tes sparen & ti ae repr, A fe ences avec er tae ‘tan doe, bch peut ee neces ass c00\o0008) we ca0\o086 ‘Ar a goeral ale and without taboos bung necessary fo indeate thelr specal fingering, the ‘ots G, Gh A and BS inthe mle register ga ‘cauacy of craton orl tones eloging {fo anater register by ing played ith th hoot [orth ht had topped Hayao be necessary ‘o depress the bys operated By he ile fogs 344 6 Ea geet sa ue se nese intel eo especial, as bss So, Sol Lay St 5 del medio ‘slen mis joss o bie se eacadeea mer cams tots de ovo mpl, s ssc tpand> ks foes con la ano deca, ‘Tamben pce Se _Htceasoapyar sabe as expla gue ster ot sacar. 154 eae i peer phaunge de inde. eppevr el OnE Te To 5 1h Peles Chis NBs et 48 ss her ‘Ofelia gl lit mine (41 ay ee ned 0 y 12 i ar 356 {1 mt primar flan dl nie 2S ce a8 as7 We eher le Lab qa por fave le Bob SS a See es FS Beppo te Afloat fey Sober of ab pr hectare Bob 360 36t 363 364 ab 2i025 62 WER. 19 thre 8 Bie 65 RSET Bes370 “oOieR. | Maya, Loe 8 STU Nea, ey Ht Go Atee wr wo CIE Nes, 210 M2 (tte CIE NO, Wi oz (0 <= _ a r ar 378 vescna QNEer Be? {9 ee yon "ore les Rab, 16 SRaR? See a Oe F Seferietigtdn be gue pewe mh, 7a pralts er fore tt ERLE pe caters ah as de, nf nn on 380 Médias cma ds E Ieee fei hand (0 ae der am aed ceed (hase Rg Bo Te ag By He 385, Nt sane teker I oy Bell win wating Fy re trina Lone HO indir Le 8, 388 389) AL 2402sa7 308 ‘Lae index, int 406 a07 BAL Tbe preind a cee aad ‘Atravallor x tebjns 12 Leona ot deen gre neetonan as Mine doigté moins tn ls Nt. eve le moles de doists possible, wa Ancora MSS EL Fro mae a 4s cp ORS, aT faa, Bae 436, tne a ime ALMoesise de REE a0 Do amd fm Db oo a3 eee 5 ain 228 446 (liar ars Re parr fBof aise ded Bx tat Ooh ‘ser dae Fah Doh enn om Daa fo ali a 45) rain dere ef taf Db ‘hiser da Rep an Daf tonto fom le aso geremmartatan taints | Re pemeagnae ase txrapratmm inna) Bettas maven haat tee a te gn SNS ene Pw er anon Bt hen hry eet iy ao he Clases de Sinaia gruckeso4,| wn ae ae te SS SS ngs eas ae wea gain era {ail ao i os slr poms‘ te fae er L295an A SS Se ans am Fe tas sn ee ph = Pectestts ‘esis ess ayo eit) Hav (ate dere) 492, Feast Ete ie! Ferg appear: eeen A980 CIE NEE 1 ee He eaMeateg Mea "ths Rune se Pop pape ete Tie seb tef2 2 eF2 a CRESOSTG RGR ME ORAS 5.09 au cL [a eet east . af Susdiny eco hat INS oe . 5 ‘aE annon ot es Sib a mopen dy mtinsimain divs, aa 524 tg Sham mopen du més ‘Mab fat wit 527 {+ evo nat oe. 1G Agee» ines. ae Aehtten tae eis 2 2 te. ia BIRO faeries Soa ts 8 nent to 17 Bey? te RT - re a5 RUN ie 2 nde sa2 Have lee inden, doe be dn ints seed 2 ye alee, (2 ove m9 sau Ate lt dove inex, Goo ee eer 32 be dp de de db Fees UUW he Binder UO EIENET, pee we 1) Avec les inden (2) Go Iu 4s fins z 12 GR 2 ate agers sas sar 2 ai24925sng ONT ime 12 Bao. Ta, 2. 3, 2, 3, 2,5 & cele pte ete ete pees teste a te td used, tend, teed & othe lotta plete, pbetre 505, i 8 (Sy Recs index, G\ staf ane ce a tpn EEN cet ue. get. get Wen’, shh eect 568 569 AL 24925STE sce te mins, ome meio 5 "ee 07 ee a “ithe cist tet p 601 a. Oe ptPeototPerte Peete Per Wa 603 aL 24925620 on be Sopd,.a 9..2ethe.t gry icctttiteeaeeeCcte tte eae 2 teeipeet iter ee et pep Erde Bee ete eit eee aL24025DUUXIEMEPARTIE | PART TWO SEGUNDA PARTE remains érupe pss oamwes | rinsrsruprorscaLes avo agcisrens, | PRIMER ESTUDIO DELAS ESCALAS ETBES REGISTRED DES RO TMES MUTT CULT Wor vos neaisos DIS ARTICULATIONS. EXPRESSION, ORNAMENTS AnDAaPeocIOs. | DEL RMIMO, BELA AITICULACION, DE LEXPRESSION DIS ONSEMENT BELA ERPRTON DELS ADOINOS npes ables sr sits woe to aon sss ‘VDE os annecios evasion esering somata tae fe Yen 7 DOMNTE And souguT suazan sere 0stod TBE on uaton = it iiscrne = ca we uuoncunoy cnn £68) seme rare uno, ROOF THES HE, sa em nonnanr sccm onca muees gee SE HUST accom pe 75 oe pone Be AE Allegretto. Allegretto. a £2 Typaotgun JERSE LA munton con riiticeuy conn op ZA NOR (ane ent mer) EEhy A ison ty pentose cure ranere mao, sensor sirsoaas sna aT ‘ecm nana sce, SEE SE we 2S vai Inthe following lite duct, the student akouid play the first and second porte alternately. Dans Tes petits Duos qui suivent UEleve jouera allernativement la ¥= et ln 28 partie. Brn Los pequencs Duos gua siguen Coperd cl alunno alternativenante la 1™y la 8 part. Allegretto Noa ‘Byjrt ogvoming these Staten, jee eee BE Fitcrbinrccce satozsPoco Allegretto Allegretto " Scparee chaque notes aecentuer ta syncope et dimis AMlegretto. ‘Separate each note, acct the eyneepatin, and diminuendo te nates peed byw dot eked be shertoned Sspnrar cate mate; eentunr tn sicapn ¥ dsminatr; hon deer més contests notes punters M5 nf fda AEce» be were e q Rou = = Viewed an2is35 tioningz Allegretto, ; wT nf ‘om ge FA mascon asror B Wibon "soe FA wavon > N40 L292$9 Type | Mt Be | Te c= 21 1ype | Red Te | etn fe = I> ona venrscro mexon ae Andantino, Neat TS soft dour Poco Allegretto ‘Aveta Ce NHL, Eee Sib, employer, le plas pohe, dans lox phrases express (inet sO, detain Dy Yobe wate eke po npr pte (eon tee 1 ea AL24095v Allegretto. Poco Allegretto ona SOL, wacom Andantino erp o Milo © FoNo ne SOL waren Noe tetypeltarel eee 2 Petey Pe on anon yee ann tnt ner) = SS = 1 - ig SS val val va v4l val Voll SS es tS aL 20925 ze z val vaa Andantine Andanttaaus, Neat cle Wels | Hap Herb, Andantino Hove ¥ on oe SI ercun nr or BriazMsion” vono ou SIb MATOR fe, > va Y val wason coxwon omen = => = rong SOL, wna rat nines) ‘poutine Meme nim sere ne Se wavon Come relate meer a q = = f = Tj Ss 2 fo Se = - SSS = va ya Dvd aval Gitnon eaonn seonoe renvecta son val aL24easrespirer i chaaue demi-souie, fo se respira en cada medin-pausa Andautine De not tate breath on each paaver: rast ond nat ft wa ea sqncope cant un deplacement du temps fort, bien warquer (allaque et diminuer breaquement, h fa 2 moitié de savatenr, Ee. gules La sincopa 08 wm cambio del tiempo fuerte; acentuar atmenncto y disminuir {de repente ox fn 20 mited le sw valor Allegretto ee eee eee mes of gS" CE Sire seme __ 7 a 24925Peco Ante uote Wicey dauytitemado N26 Af 88 rythm dy ron o€ RE wnvesn . Allegretto any op DLR” owD ne RE maron N27 ia ine Tigero se Te Ss = eye trl ee_err ora ment cries Nat BBE ron tener B eit = nS = = =f we: : SS oT imate [280 . a a = ae o> = L249Maestoso "8° sitare = ‘Tees eythiné Bio ritmedo Biter riimten A ean a Se Moderato, Rul ——— [pp ean hones an mates = Sei a "a ere se‘ou n¢ MUS wastur weyse7 EF OF & SUATAGORy0NO 08 Ib wAYOR NEBR = > a fod ye = on UT man tn rtf nines) ome Mati, | amir) FOND 26 BO weRON (eset mar Teer aypeliment aie AATF CAINERI ef em mn) ” ai my a vq) D vol yo) f > > NOOEH ayes oe ACCORD BE 78 DK DOMASTE 4o9ROE OE 7 oMUNANTE Fy cr ems semen err wae Ea 3 L293Andgnting th gt tte MLM pte The gumewe e_t t tcete » nae { P tolee expressive ae \ c ee 2 senate a_i 5 a > eae = | fr asp my eee ere vias a ; ma Dis tte Wo lento {Pempo (427 Meus fst Movement (12 Mov's) eae 9 _T Tempo tty seth So : Bhoient ee ee eee AL2i0asron oe LA waseun visi Altegretto sar or asso Toro ae LA msren ; x yet Thuan |= ‘nee ep moll eapres mUy enPE TON DE FATWINFUR (Poe raaifninewr) = EEO Pane ais ey ef rnin! TORO PAE ACT en never) ~ oS == 2 Type | abe 2 shots rare a, ERLE coe vere see Altegectlo —— Det lager od ERT Tero) ‘L292he thes quavere ef he trite exon Ute 8 cracker dw (riolel tres gales ‘And st take oeath ot tho ba. aay ‘rales las 3 corchans de trestle. 8 fe pas respirer sur tes barrex de mesure. ji se spina en tes barras de comp: mao on ve LAb mnacun NOMA L295PB) = yal on 9¢ FA mINEUR Ton elif ery ; {TOF PINON aie inet) STD 8 FA MENON Pe ret mee AT ype | type 8 Te ES = 2 Type | Baty | 22 Te B of = cle N | ff lrts expr, weit oat = ——Nena ae a = Sa [Ree aim — oi [Ff tras expr may oe. ue Z. etter ei tae ef moet ee © mr ean interment plo ao 3 mo ero te a lao pre val ade Ce anger Ge ng mga tere sana oe O68 malate. eo ay Stn aid rena eo Allegretto Nas Pa ‘on oe MI mascun {EBT oF i asa8 © YoxO OB 31 w1voR weduive N46 eee “ su 2402892 ActonponeratT waste ‘tan cuor cron TecOnD D876 DE DOMINATE ya Ps 32 f> on UT? woncuacten tit wicary {87 on © suune wie ate minor) mE BO wasn (Po rete meer) ‘some Ba "£0 $0 Type te type | Te =f: >> SSS a4 ype [Baa 9p | 8 FF arog uner wan nmirtnit ne ‘ion cocror oro Tcobny SUT DE DORTSANTE.doonoe pe 99 ooMINAnr A Tiere yee, Tiger ePegthnd gh we FER tr AL2492593 Andantine pv se te Un Bat free ond thn so, Ca 5.ticmp) esr 9 Horas y lege » o (HS temps) Batre temps ei eassite® N50 “pont tn then thse es ‘rhe evtent equa fhe cathe ofthe prscding ba generat rane delaents REGENCE har le ta rete soi 72? ok. Price aw Peas (feem 7 = ie ete ERE opi y J “Wet ae on myn wipe dteepoorn : nh ume nt one RES wasson UCLENYT grr mor, XO oF DatAT waion Tow vB REDNATOR vinive sw N58 um provnssevn| AL 2495sora 72 eae aia ee B ere i Aro =| rox x S15 moncunston tif incor MEAS TN yey PO Te ent se) 2eType | Bad | 28 Te ee — ss Ss SS A otra , SS | | ter Peubito SS a Tempo, =~ Poco Macstozo nena, of eee AL24925os row ot St muscu WCIE NET ey 87 Liew 107 pr oy'h AGOR “POND NE ST MAYOR 2 fe ale | le wpm (de loan a et yal 33 SE conor ov nsonnars oN be SOLE wiNun To lt mines "i uese nor ABT OF @ SHARP MINOR fltice min eq) TONO OF SOL MENOR (Ton rl mor) > Rarer Ho? (ay Bos alte val ya}) vail] stot aan seen py a = sconoe rensrero menon v Andi aL 24925(m8) Break op, Seoteat toa heat. (a2 tempos) duconsner3 tyne 4 Henge, 7 Poco Maest oso (a3 temps) Décomposera nites pa eng ms Set rye ort tint) (3 rnd) (oescanpiner) Lent ciicomposer) Beak yp F AL2492s(nn 8 (2) te 9 (Nye. key? CE NC: ‘ron at SOLE wnscen ABV OF GHLAT Mason” ToNO be SOL) ATOR ‘oneirae : = N59 ng in rrornsenvn| ‘tron connor exoas Hono OF He oatvAaet S6YERTH, Tao fH MENOR (ow relative menor) = 247 ype [Bad pe | 2TH a Acsign nb 36 ne ROMTISTE, aoonoe 997 owrmanrem60 Andantino «Déconpser, sos taney Une pt dering (om ~ Sec 8 : nf expr. ral Rait. | din. p. NS a an 2io05100 sagen Andantino Spor wt 2 Vea yez Sear Firement Soberbinmente Proudly S| arege ron oc FA mascun anv or Psuant x4s0 Toxo Dt FAY Mur0n a) MNES W)ey Hoo (Dae 78 ee vii sioner = = N63 of ‘moreson a = SS ee voll a A796 149 Tie 148 Tipe "Cee Menor lone HO von ne REY wincon ston eat incr oF D a nse tat mi) TOR 98 REY Maven roe ratio ne Lf: .: > = = 2 type tot ye 12° a fs S == SS ‘CHORD OP Sui DOMINANT SRVENES Foo Monte Perea Meee = eee AL 24025N64 Molto Macstose ck 2 Lemps) Déconposce 3 sere par teaps. (in drake Bap in 3 cate (22 mgs) Dscomnntr 3 tax por tempo S marcato = — SSees == Méme Mour! | Some tengo | Mismo movimiento N66 dolor AL 26925102 on OUTS wascum peer, rowo.ne Dobwaon ker ar OPcAr WA0R N07 we chin OF ah DORIA SPENT ” a on a¢LAb uneven se ype tye EVOF 4714s niyo toie miner) TONO 28 STRATEN 67 hy Bos (ae alate alge nt 3m ; a g a = a 7A ~~ SE momen S noid oF Tee nontvanr sereacy scoae oem voMTNATTE > Poco Audra) Sa nn) ~. oo n68 r = a SSS SS aL24925(cin apresurar) Br forma de canon 103 Anal! pastoral (sans presser) Ex Jorme de Conon, (Mitout burying te Tora of wean =) res rythm eye fy cite af SF eS of SS 3 7 eT = es a Tempe, een ee? ie tee aa FS Avvtanting, of Wau ser, etre canse (Bhtont rlnring Ky Ho ‘Ton UTS wascun Hy asror cmmanP ison 7080 08 DOS MAYOR 240251 savor mena axon Aconoe renreero muvoR ‘cronoor ras powrvanr sarsxen afeogo vuntarr EeR ae ma Tesong Be Te et OURIMAGTE ACOKOE OF 2 BOMIMNTE Fou ne LAE mimeua Toc (ST 07 4 SHARE HIVOR tenet mie En) ‘OR LA MBSR (Tone relative menor) Type) 4 Typ LT = oo = © BH Type ad Type 1281 gore 7 are 5 Andantino ie gcomper creat ahem (i ene - == y = = wre (a tiempos) Molle Maeatone (4 trmps igemponer sie gr lem. (dra ar ae bom 3 a et inne. LOTTI ay cytes AL 24925105 aL 24925106 TABLEAUDESCAVMESMAIFURESETMINEURES | CHARTOF MAJOR AND MINOR SCALES ‘TABLA DELAS ESCALAS MAYORES Y (Gres nuns) (worn son) ‘MENORES (2eLasisDeMESORS) NB, Ls potest ot Aver sent nt se | MLB Tasers and ude il dre nef roe e Cor Super de Cmte “Cui £7 | Gata Hales “Cour Scr ie Corn = [rzxccs” ee Gaon anala Ca wr pomstat | ues Eretncice Tw eee einai ‘epoye date rude espe dele Mate | apy he en fo he ageing of ce alr od pine deedeceguomeetentcies | excuse suf ese th od method A travgiller dl pMotte anise + de chaque Watson. rn tentrmente' Marcar ta 1 note Higads "22 Tipo Carménice) -2.Type turmniqus| Boe ge mensch _ Ee Osha? = . (aad ime te) (ay a7 ah aaron stvanscan z oxy serne gel Ne avai ah war08 reas (Ry B07 ss nO 1G WAM Anzio107 (ike fave 2 NCE scien fen es 9 ee i CE - i = eee eS = = SS eid wis Se (hie nts) Une Tie gti guy neta eres =e — ee Pret cieStawig Re ‘ (oy HoT 2g 165 tare HOT ttn A ga uncle Reza Clee ? ironman Fo) el cael ee ed sna oe aa (Whey Bo7 (2) Key Ho 5 (8 Kove WOT (2) Lf inact $. a — GbR aaa Prom te 08) deo 4 samen) gy * » paige ae ante gee 18 ity obec ane Fe108 {O49 tes Cte eee 968 cae : a gneve ewer =a >’ fefainca = ou Ais, Gere See ae eS Sareea DEED, cio neo Bees «Rees ee === =] (0997 we ner che x29" (94 97 te 67 i (aad tina aes aavevon TE 9 iy or 9 Oe 7 3 eee On 9 Wey tor HG ME mr ae an 24025(QUARANTE.CING EXERCICES ‘cons Pa VINGTSEFT NOUVEAUX EXERCICES ats ous Ls RASHES Sue DESENTES i ota 72 Execs Antica eet fake een disincemes, avec re et pein ie es nls a use ise ov a moccensgeleangse en sons a ‘are infin canna. ly» ear sores datos = He con ete (ad, Mais corde satin ve combs Se ils anes ot es pr wm Rowe dng foaled sche qu'on ‘obbent Tes lus beaux ‘eat Le prieseur opera eben dap es aie di fae elles 20 promi fhersus ose peo FORTY-FIVE EXERCISES To arene i 1 make heard distin, with clarity end precision al the notes in any passe Phrase or place adding fo esression ad sae hnfesons "Tere are mo Kids of arcetion, he “oul” (sinc and the “each (seen) Bu hese fo etait can be combined in @thusan Atos and sy happy bend fe and atacs That the most boi sands are obtained. he teach himself wil jade fom the ena iyo the edt wheter should ake ‘rach fi ses ca igh 109 (CUARENTA Y CINCO ENERCICIOS ‘CON STUDIOS DE RITMOS ¥ De INTERVALS ‘ore aio de 72 Brees Artal shoe i dsinament on mpi ec adr ois dew dalle, wa fe 0 te ot cues stent mate Tioy dos cle de arcane : in Unda y stead Este doe arcane se combina de il mangas; os ms bls realtor se oben Iieeandodblcamente el igeoye detage. ‘Sl Profeaoe ses pres que alumno ii: Pages aa de'paedae3 # Anziore py gillegretto or eg # Andantino oa See Re ee “= tere tess = AL 24925m Maestos gua = sesae L245Vivace (i temps (te 1 (at terse) 43 = = ee eee estas aw 4 == == & RISEEEE z 9 Ses: EEE fio Dotee legate Divisex bien chaque lwmps en trois battements; 2 doubles eroches par battement) N14 F fa +t a PEEPLES Serre Pee see geese ‘inch te trast opr aba aS mr cs ¥ er g a ae Te ee clits ited aia dd il linda = 3 = se Serre — < ae ire cers cere2 5 es a7 SEIS “s/ Ee vies bin chaque temps en trois battemets, 248 3 7 es nis # sca Hie eS SE ee gS 3 5 ES ES a a TAL 24925 s_4 Pour développer La souplesse dus mains ot Tindipendance des doigts, Pans dasarroller le extbiided de las manos Bo ectap fesbiity of the hands and indepenione af the fers. . "7 2 tndependencta dee dedoe, aes sate NL 24925us eS ‘Se acentun més la 1° note de le Iigadtura gue la segunds ‘he fret nate on whieh the phrasesnarl bepinastould sermore accented Une second. ner Ia liison, doit tre plus aveentuce que Ta seoonde. 4a 1 note, sur laquelle en es ots Fazeouutroetepek fpr ieee alainsan 24025al ‘jecuter como en e 1 compas, separando les metas de dos on do y aacsindo la primera nola con um glpe de Lege aco. ‘lay ain th ft br by eporating te note ey oan by abtacktng the fiat note by dry Wnguane Exreoter comme le premiere mesh iparunt les nates de deux en deuy et on attuquant Ty premire pote purun ep de langue see 37 2 = 88 ata wank the note om which the phrasemank lepine. Siempre marcar le 1? note de fe ligadtura, Marquer teujours la note sur laquelle commence Ia liaison osoaLzisasMork watt the fiat nate of tach triplet. Bien marcer la 18 nota de onda trestle, foe marquer ln 1 wote de chaque trolet 2 illegrett ‘op leger, ign erro to . — a ah Eh ee ee See = 7 aoe ey = a ps es ‘es ease ee a oy ? Eases ¥ eS oo oe os z -s $2 # fi Spiltase L24925m " em ase ay f ea = = — — SSS ib hit Feith th ane of te i anton Ke Sonam fh Debi lone = — —— — — © pth ar, seein ope, Respite ici, au bescin, ise on Blowe! lent. ~ (ine ama ar TS ‘Siew REET respira ope en wm mcm nd, AL249%5tesa pPietsas a AL24925Ascent the ft note of each tiple, Accentuer is 8 nate de chaque trick aves files here Peer aaa eeaae‘Bien poner ta Imola ligne y acentear Bien purer Ia 4 note qui porte le eoulé et bien accentuer ta note longue (Io crache 4 note lage (la corchen) mt 68aes esore eters =: prerrce ores enetats128 eee ee DUFOINTDORGUE Le Pint rp et us repo ndgue que In seme specie ‘Te Pot orga dle imagination et prmet ‘st chstar de doer mn let Se venison 1 strane bilan eo insrmen ‘ton ou ein seule gle conser fl seal ‘nase le momemest Jot Ee fet peti ‘lie Poin d Oued te ong ov Ge peu eee, Rial pnt Large le Pon Ore ne pas tis aecta prae tvers et de boa oat 3 ‘pas de Pind Org et lps sii DESNOTES COULEES ost ees note st bien poser eprom, pr ia mene npn, de poe esate, Sat que ele pulse sas fa moe eporaton. ‘Goeguets Te deine de insremen oe des et valle ts difees 0 et, parce gue es iervales ‘xanot de dogs gi, mage Vena assent ‘es nterniteces ean som hatte Prise ‘oi aaa eiparaeetaconveaent Moderato. a TST ae Te a THE PAUSE The Pause i point of rx which indies tat ‘he tine suspended "he Pause oer the ington and allows the singer to deploy hs tal for volt and th insula stare, (God tse he on rule oe coma: that ale wil une we he tego sd be oof Inari ihe Pase sade ferret. ‘General Ree: When the Pause i nat part of the felling pase 5 i good tate to ae ane rather than short nerve twee he Pande lnase mic olows Toi ote, i eng place the frst oe ell adh the ome ini ta produce eaters, Who the ear detecting he eal parti Sometimes, the fingering of the irunent fers varair very ified to lnk ‘bosause ese mera demand gern wick ate ofthe Dloers core lene fps tte sind. he ol of {he player mas hereto einnae is ek 24925 DEL CALDERON BI Calérin os un decane icin ln sepevin del amps. 1 alder st La imagiacén y permite a calor desplegrsu foolies na vocdiane al 'E buen gusto es la cnica regla que debe com sls Slo nice ta mvinemo de iemopretpin ye! Casi pods poc dusce Tesla genera, Cade Calder no ests iio son in an gue sige, code Duet gto defo ‘mo mis ea lao qu conto eae el desis Cac a fase que vies despa DELASNOTAS LIGADAS. ey ge a me produ as cere co el msn spl ia ques ‘age a mame septs. A veces tele i ger clos incrvnlos de vo suelo page feigen una egtacon que rodce itera & senior L bl el etme he sp be Incoovenine, =ULOURE THELOURE EL"LoURE (esta pend en 05) 1 Loaté one fore acceruaton eythique que | The Lat is«srong rtm accu inpresied | Bl Low es una fuerte aces rtmicn que se ‘on iprine ason ne pour oa cener de er,» | of he sound without flecing the ington st | prime al soi, aunque ligdo. Se emplea sobre Pampas sve pour pocueunefietisign. | coun: tsa nsd io prodice usc efecr | ‘edo pra logs un fect rise. Ta Bowrce d'Auvergne que nove danacns ext le | “The Bune ’Asverge which ve give here the | La’ Bourée ahuvergne que sigue & ol mejor ier eremple pow xpor vx cevesconment | deat example for explaining ta sade how dhe | ejemplo ques pode ae Frente e Lae Toutipayed BOURREE VAUVERGNE. WE. se ee eS A Ligar y der inflecionee fuertas F eres rytané- Lier o dower de fortes alfeions or aytinle. eget andwithatone easton. = FAA FF RRS SS Mesias Loup‘ pat spe: | Thee 1s anther nd of Laut wich my be | _ Ene oa cs de Lowe gues Hana “Loué Lt cpres il dennis we SEO Hs | cae spree” Lae which demands 2 | Epes qo etn som nen is oc fer beso ane Ti re ue fern prt un = sous urs runes Mls = ee ace nln PICS Liga com iftrion ex cade note gue teva = vn fiona sa rsa pe —— SP Ms TER rivos * ee = aqato with on iftexion on enh nate carrying DES DIFFERENTES SORTES DE DETACHES (On disinge dire soe de tachs alt sauce lesan mascot DIFFERENT KINDS OF NON LEGATO Veron kinds of non legato may be enumerated fron th ca ep proper tthe ei _DELAS DIFERENTES MANERASDE DESTACAR Hy vata cass de destaqus dese el pumendo 0 pice basta secu Net Ans (syne Braap taconone Andante dela Symphonie _. 2" Gent ? Anutante deta Sxfonio "MUA" PORET” ob ay ee oe: Eres “GA FORET" in halt" audante rom the Sympaony 3 EAIEE ose ‘tus Ponast=t ast elena eee fp SP faP aus ws cn sesie exe is = ee AIT tg one 6 ego) oe apoptaa e ay ey ager uy 3 Phil a nse GET iare eee Be... a Prtbcse ia emis Peeereeeeet . esi AL 2402s10 Doivem acetic IN 1, Mager cbague not une egret, (Cestenquegae sas un our detache 12 Dicer dns abs ct inion 3. Notes ques ou pote simple 5 acer plas stcnomen. TN. Suceaio : eomespondant aux pict des instructs cre de exer x cet es ‘Scheme een pls conmes Wel sins Andantin Should be played hs: ‘Na J Mar each note with sigh fon ris «ind ofnon eg ser ‘No.2 Nan lego sound, without any nfleson [Na 3 Saceate,a moe bitten ge No 4. Sac comeponding fo sng zit, shouldbe played toe and evn a fren ‘hee [NL Marca cas ooo we gra nei, Es mur desc ‘NZ: Detar el oad sia ite, [N°3, Nats pnteads pias. destague ha de nie “4 Sacco; comesponde al “plaio™ de fos Insrumesios de cers ve desing hae sy SEe0€ Iga como xavier xr a: Las exemples N" 5, 6 et 7 ont snout leur pplication dan es metesae reheat o@ Font pois teoi deus fos eens enee Nes Ne Examples nos 5, 6 and 7 are most wsed in orchestral ploes where Yry Sang acon ore ‘euired in ensentie Las mpl ge gun N" 5,6 y 7 4 mica sobre de ges dad ness, ‘ess, mcouno de sotto fies Large met ye a aeseipione ean eee oom apatites = ff f 39 SINFOUIA N° 5, Déacer oust en appuyat fonemest No 4. Sexe cme le Non cased i ent, per Cg poor Dass les exemple savant Detector en pronogant Gu iow de a fngte Peaeaust no Peed {22 5A ey one, ting song on xh No.6 Played sil mor hen No.7. Pye lke nf ba Because ofthe do, each nor stb Separated fo increase the eight ferher Noa oat fy aralting 0 and not wt ds | stvsiroeamts id te mie ofthe ong IN" 5 Desa pesadamente apoyando soe cade TN? 6. Sejecu de ua mod ms pes V7. Sesjeet como aN" 8. Ades, ais et pao, shoe sop cade nts pas que nlc ‘is psa ds. Eos Ejmplos espn: ester, prone cone meio de lenge evan ye: Ted vere And? og bs, ands 4: seupwoNtE Thin the Tui, de deme symphonic beeen Fett re ‘4 SINFONIA eon not ndnot ean,[EXERCICES SUR LES DIFFERENTES SORTES ‘DE DETACHES _Sépare pa wn cour sles Ia rocks pointe de a boaters seme cote de tage temps, Surmonté d'un pois, deve exéeuée comme ene ‘oublecroche sve un eat de soup mais voi Son de doer an sence verve de mnie (ge cgi temps si bien 8st pce; composer our misue ven send compte “Teva ot execs aod tenet et ens eplasen pis ie Allegret Ve EXERCISES IN DIFFERENT KINDS OF 'NONLEGATO Separate bya shr rete ded aver rom the miguel gate nea bat. Bearing @ “on ahold Be played leo semiquver followed by {2 Semiquavor es But tong cara pve he et Irae sale, tench beat el plac, rok Apso arr retin ths beer. Frac thi ext slowly at it te more simone ih 131 EJERCICIOS SOBRE LOS DIFERENTES MODOS DE DESTACAR or medio de wn cra paws, separ le crea panteads de Is temiarhen Ie lume coches de ed tempo core neal et clea un pi, ha (sor cueuiads como ina remorse rpui por Sena de spr, por hu ed ln pus 50 ‘el valor par ear ea tempo 5 deomprer fre Sr fart Teter ese to Knee, sodoundo gn — = Nea = eee Fane ‘ovjoure inf trie rythine” Yory Aeytuate bien etmato se etre oe eythie et fe prééest eee tae BAT ‘etary ances xe cinta, Feet eh Allegretto Ei gee lun dows dans le 90114 more gente mn legs te wund)| Destncnto mes sae (on else) Audante eapr. inp tae) “inet on Pn teneme Met “am dt vec me] “= Pat ese, ee — poe t|——P flees | ise free eta, sper ting cd) a ten rele pret (ite) siete) AL 2492s12 SFr mine a ee Ee fenvetenant (ceteiend) ae ee D Saget DB B t a lin os [Sp [Rattan pp woo Cecictittespeeriten = dl 0 7M Tempel Mont - osm a, —f —s auives) (ee) eines) age) Ft SSeS ee aS eS ae idl _ =v mee Phe Moderato Na133 Poco rad L492134 Pore rall. © “dim ‘log throughout aa for ha ist too bare. Exdcuter partout comme nix deux premldres mesures. Se cscu’a todo cong los dos primeras composes. Andantino, te : re Peenat ‘ — =_ se P a 26005DELA MANIERE DE POSER LE SON in principe pinta to premitie no den an groupe done rene, dll re poste us lanperpe qe Tes more on indus souvent {ate aoomtonparieltrs para > place ous ‘ate at ce est de gui en ps sage {i'l sie fr als Te pose leterent et $n Stevr comme duh pls appa pour omer abe Sesame pub den ean ples cence tps ance Gea fens ten [THE MANNER OF PLACING THE SOUND ‘Ave general principle, he fs noe of «passage group or entry, tes shuld be steady aa longer Sian the ote: spar acentaion i fen Indian by > plced wor the ot, ich means, not otek the note ih fore bata lace {slay and to se Ws a poi Tan on 0 as to ie the hers warmer" and. more animated Inpusion et an24925 135 _DELA MANERA DE ACENTUAR EL-SONIDO pric geera pine de ue dalle, eon gps ua eta fo, ee e scents J tsp qu a ot ecsntmet aeet ‘i acentacls parc po lo down peatebo ‘eglor > coer ej ce ota snd Epa gucci qe db sentuns aon co8 foe, so seal let, ve cr tod po paras as os una impubn de (cara ms ats ys anna.namo | aon sevsocon 1 y & symope losq'ene ante tages sur an | —Syncopatin occwrs when a note anacked on a | La Siacopa es un sonido qu se aaca sabre an te Tables ne" pare ible iemps, | a beat. or'a mea portion of te bet std onto | impo dio ste pre C2 de un impo ye feng ep or pe ae | gS on we song tn of | pg ie oa fe 9 em te Fp gas flowing beat fa et tempo sigue, sgt ojous al done un element dots | ust ick naa ays be gv placement | plo si a el spo o arate sb ‘cea un ope fl on edo pee fae serie | ofthe rong bet oY he wea, te bet (r nor) | fermi. tema (onan) sr eqs syaeope i ‘heh he sycgpatin cs shel nb oe at Ttoge “Memo ejemplo oon sincopa jemplo sin sincopa Weare het one nt rene ‘Louie space produit, par ecentstion The gncopted notes producing, by he acen- | “La Sncope sabe sss fancamene del ese Exemple sins syncope pep EY ss ul ar eae sang ihont senator GE Ee para Lengo spe past sven dea ales | Wn agncptn ca bel no eat | _ Can sedi Sopa eds as es, Cee re eet erect: | vac ie av for comple ti sel be | pi cen, So cc scope ees Se ee coe etiam capses | Silo common, and fe ste fomng the | russ emo be cence scope TTY se ote nte Sealer par psc on nes | Soparion feted to anther note of toner or | es liga con ota de on valor mayor © ment, &5 fie hae ne oe Bc | Bop ase sent ta sm Be | sha ca ee ripure c = Exemple do synco Eaaopie of trokon arccpation Bjemplo de Siscopar goobrodas Sate Attegre fran ngitasione) avt de Valse Fix Nee olve ~, mM ‘ aD aLaaas137 {ES NoTES COUPES OU JETEES “couPées" on “JETEES* ELAS NOTAS CORTADAS Cn apes dos ms cous de deux en deux | Nowes slurred gear in pairs and separated from | Se Uamaa as Is ata Higatas de ds en dos y clades dees gl suet pr un lea the fellowing ones by ores ere ealled hs. sepaades ne por usa pts. TU Tat poser ln renee ce deur ct dimiucr | "The fst of the vo mut be placed and w suddon | “Es pecan accent a pee & lab os. y uss leon pour alr sur seca ql da xe | diminoeado made onto te second. hich mst bo | im pense svio pare Tega le segues les bave ‘enter ‘quedo seems cot, (Gtmemetlogae pss anes sot ares | "“Gancraly, when several note are ted boneatt | “Generimens, eno vars nots estén runs sour ane méme Hazon, ln core sur logue | oe plrasemark the et on wich the rare nds, | bajo ane mises paar, la ata can gue teria ‘Pune ett ot spe not je ov upée uscd | ra “hrm” or shortond mo eon f ret | dala san nota cova um cand o a s bien meme il n'y suit pa Ge sence apres. ext | folie Tey ski lngrwork la’ thase | aura depts Slamente far igerera dear dos ‘ar sbi der dogs gue Von rest execter | parapes ll ueoeed is he nger wick cate she | poston setae bien en panje Hi deo ce es peages, Cet edo quasi gurls ote | ‘und ax som atthe nt is hear and driver tt | Gb, an prot como a2 eco oak ‘Pet fat emende, cope Teton et le role pour | back oto. inthe ntumen ‘retina pr doce sen armen. tele Sane Pinsent ' Allegro moderato > Tas nN Tired vegovoment) ny ligero) Nik! 24525Anil DES SONS FILES. eas er oats Ls sos fs se fst en comment pansimo (opp, pp) een auprantant pet b eu le son Sieqriee UW at aie woe cee neste Ce ff); arvé xn pope dev, pur dani Pogreneiement sate la née grtaon fat ave fla, lasaue neu son dans lagen dese ‘nt aupevnt ene erie sua ae Lente © reperssive ld notes are ben pasissino (PPP orp) and he sound ie gradetlyUnreed wt ale rian ens App ors aeung a its nt, {shut tn order to soften gradual, fll the tome gradation “Cor shed be taken, when sound ented from te instrament, be previous). ule Wi ‘conan uty of rath, — nv 24025 DELOS SONIDOS FILADOS Los. sonidos dos se btwn atucando isasimo (pero. pp) sumed paca 3 poo et {oni ste ge bay nd Ser imei Ur og). Al lgar toa mis sho pada de a 62 ‘hina ene mtma progres Par produce umes el soa, s roc conserva sampee bance te apneALatoasuo DEL'APPOGGIATURE Tis APPOGGIATURA DELAAPOYATURA, Lappogsanse, 4 mot talon appogsare qui | The Apporianrs, from the lion word | La Apoyaua de In palabra alin appoggire sip payer es wae te arent Gu rch | Appoegiate ich ean" lean’ sa race noe | que signa “apojar, es uta nia de some ‘sare sr ole aot ga whites va frm tao the foong noe. | toma slr det vale de loa que sigue. set ngireaPhamanieqilaccompagne. | "is foregnio the harmony wu accompanes | "Eran al code Letmarger sn cut pr aoe se Marks epinning wi an aceenuation, and en | Se cee scenery dsminsir ego ast que stinger ease jnqe's 0 rsltion inimeado wl elton onthe nate a which | seal sore aot oes. etl at uta rode. ‘Hironiyonembelimen "valor e i Apoyiora eis iad 6 las dos Tlepoguines pour atu la motié ov es dex | “Theme vale of er appopglatre half ar noo- | wre pres de nose acu suet, ein tee de lot sat nga eles sou lon que | thrdr the of te note on whch "reso, | ‘tenga ne pio a 90 ‘elle et poison. ‘eroding fo wcthr tenet dodo ot salon de popu nokss Ba cde be minima pent La aeurd peie nore ost A des 2 de lato pit, ‘The elus af the rat! nate ep the dated minim Oe ‘su Satyr‘ le mited de te mivina Bx este Bjemplo: ans crt exemple: "i this example: Bn ext Sa valeur est gale ila Dans celai-ei: = ‘moti tly Blanche : = data ones = Hi vata te ual thay = ‘ofthe mie ome Draures fis, que de I petite note formant | _ AF other tines, tefl of the mall note forming | A ose, eh raves Is pegues ot. de 1s agprginre et conte par une pte tare (47): | the appogatanre ts eat by fife srote!n ts | apoyaar (J) ea eyo caso es tuy vedio St ‘Gisex ag savalerest tment pluie EDs | case, hs ele i finitely more rediced, 1 sll | alr. Toma stp Svar dana red tose sles oe ge ae takes value fom Hato te note wich alos. ‘Bjemple: kf a z Exemole = som iF NS es SES eae x y Ve a aes ae Ss a 4 a 1S XPree sae 1m {om the sort wate) bon of Wipe 3 bret) Sepang eee Cex evnton brn fgales ot La ttheteoompen bet pric aster Sp. eh SE A DU GRUPFETTO ig GrurerTo apna EE SRURETO Le Gropeto es un omemeat dexéoaion, compost | The Grappa an ornament composed of | Se ms Grpeo I renin vais nts gas A plmtary plies nas (etree! os ox | several smal ote (gencralyrivee or four) | (geenimeate 304) adoro ols nota icp ‘ine, trout pe eate priate On indices par | embrowering pina nt XL shown By the | Groans inca por melo de exe signo we git Tesipne m= accompogndl sit ys len, dy acedens | sign ses accompanied if reura bythe nececary | mothse vez se eacucna scomaialo pot Dts, seed platen Jessa Tappiqve 1 | acldnair An eestentl placed blow apples to | acccmues Tl aecdete clacalo ajo el sigro Gente ince; das lance upeicne "| the lover nt: If placed above, appiee1o whe |" carspode ln nla nee yrepocamene vena fagnsintepteles Grp te | highernote nel ae coma. seul plo somet sel ge, Comme xcnple | There re various was of interpreting Gruppe: | “Se mierrenn de motos ditsestes oe Grp {reser ceiqus vol commen Tes Gropp da | good tate fen he oly cnterion. Avon example | cues de buen go Siu ejescin del febe ‘site Larghet Gust ce Moeat dake! exe | Srown from ssa! worksheet how the | Large del Guintto de Moran coro semplo de creo, ‘rupetl of the fee Larger from Nowar’s | obese. ‘Gate shouldbe performed. ‘ems Ss Seo re) SS sj te & 7 Bites EESFar aon Ue ave vais etéelon ve resco duns) Anca Kind ofexceton i met with in coin | _ De oto med se etn cos Grp amas cating an et ep ronantt || Graph may cle one Dre | rome pore amen Wee rst dela pce méloiue | eo pire vee ple gw ty Faas ae et = rs Scenes tutro Ejempto git os Efecto o se ge it ater enmpe iinet ==? ap hu following Crap, conan i th same work, ston he te fan, betel he Clase ‘momar, Ce, lel valu exon eon elf ‘frat ih prceer the repr si = af Ts Grp ines cee oa sn neue cles, ak ‘tors ron! lad Se pes a Shige erga ye area ne tea ag inet PSS] rt ns Grn | Grape tcndentes— sng pst | Gap ie ss Gapet in eas de mie orm, i a ng ena Seqimsatspesnewpcta Tel op Ball. be Sroypet en moutont Comme on tes Hert. alantton Come exersben Come ou doit tos oxceuter, E timo sedebon ajecutar. g — . as Commu on tes sei Grnppetti on descendant | Descending Grupreti | Gropeti descendiontes. Stanton no 36 eseriben, Eos omane on doit tex eeveter, 9 [P= 2 Gamat ss atom Gecetar Autre iaqiere de les rire ob ite'Soneindiques par signes. ether wy of wring fem in wht Grd hdtated ly Wet. woo diferente de eeribirlos rt deat ETSI. (n pest endow ce wie cme le’ Le 2, | Te third oe can be performed Ite no. T or 2, | Se puede ects ete wre cana et N° 1 y el ceacbate que Ton pea hie lr Grappeto ea | kes the Grppet can asced or descend. no Ber decifepmece focal pes scndte STonuoto of desc wes She tacos wich flow a oe sdy of Jor | o dace. Tes eons qt sve! Sw sposes pour ude | nse Grape Suen exudios de Grpeti de 304 pots. des Grupa ist qe AL 02s142 Excriturn de adcwnos greptscontenitos en ef siguiente njercicio: Meompis seta 8 ‘Besane fron 85 bond i of = Beriture de quelques gruppetti contenus dans Vexercice suivant: 1" mesure. Sona gropptlcntsnad tee wing sorts ert owt+ Dorel tar. ESSE ingle, gcse a ges tye exch iam ek ap ye epee ipa, eg EEE Noa SEE srr 1B — 9 plus expr. inis expr > — o~ \% me ex. LANGHETTO de. FARSI tries tits Te | Rall dim. Bp at coteniondo NS3 Fe SR aL2ioas4 Du TRILLE ive et tres rapide de deux degrés co i porte, il se marque par un sigan d'abe: ur ou d'un demi-ton. imployé dans la musique, on doit stattacher ile faire Lesquelies le ferait. que dspurer Ia métodi, Dans un Trlle il est indispensable que les deux notes sient tn mime le doigt sur ta note brodéo. Pour bien teller, Gtudiar d'abord lentement, puis peu A peu augmenter la ra toute ta souplosse et toute In le Le Trille commence toujonrs par la note qui le porte; quelquefols, par eaprice on pour des raisons parti tours en disposeat autremeat et le font comnencer par Ie note s ts, un nombre de fois indéterminé. Sa durée est tom ation tr. Why a denx sortes de trilles: le trille ma. on dug ton, et le trlle Le illo tant tre lant, souple, vif ot Fger, qualité sans sit «On obtient co eéltat en appuyaat davantage Nos a, éricure, on par In note iaférienre; ils Mindiquent alors pr wie Le tes de In terminaison exeeplé cellos de ta Arnie, parcegu'alors te commencement du second Trille sert de finale au prenier. My a plusieurs maniéres de préparer et de finir te Trille; cest su goat qu'll app eat de Tes employer » propos. TRILLES ET SONS FILES U vandra mien, lorsqn’on dovra tiller sur une cli, ne pas dé on te Tile cera ghee dal ot plus regi fommencer 4 triller aussi. piano que possible, enfler sans icoups jusqa’a In m ‘ensuite diminuer jusqu'an pianissime pour finir, sams ajouter de terminafson, sur ta Binache qui xl Les losanges fignrant dans les doigtés qui suivent indiquent si le trou du pouce doit atre ouvertiblanes on fer , Hor te doigt le de cette 5 Ie parcours dec noir). (Get exercice ext trea uéveesoire it ente fin dobtenir une grande agi tris fom fos RD Nea Le Tale ae wees a Re Eo QD Trier eee ane a ener Teller ace alee. index de a mala ce dra tout “fis Voucher Tames mabe os Rage teler se le cooioveok oocoogos145 ile aoe ta Tiley nel gee ieee cat RUE doen fetes ce Peale ate Aaceice — Qasela cis Gens” Dyrmnce — Rywsane Pasnew oy eo ~~ ®reiter vee a iy se fete io Bele 8 Beh = e gO & pe sf 2 x fo 32 7 ss ¢ teres Staten ree te ® q rahe et ae satu pes s Le ty ty ¢ ia HE Be nrenpnéaarioy De CEATAINS TRILLES ‘Arréter Brusquement Le trille my Dang Veremple suivant extrait de la qual SymphoniedeResthoven: sur Te gecond temps el séparer inquerle Dot comme ire exemple ime Symphonie que précédemment SCITE DE TRILLES SANS TERMINAISONS. 1¢ faire que les terminaisons in be s Triller sans cesser de 5 5us ENERCICES SUR LES TRILLES foe Ee fs “ua oa. Teckare® ia ait tte Ae fa pape) tsi neh — tee ele tr Ave Fine de sean trate mgs pele es warxta mewsts — yuncien i Ae mei sein GIRS us| ee er 3 ‘tee ante G8 SREERE S| Ssfroees anv ner inde desi gab [as Fi aee 2p ese ndexcmia guacho since Xl als —~ . a — L292THE TRILL “7 {he tet nthe alternating and vory rapid alteration of te conjunct daprees an indeterménate sumber of tines, ‘ts ength in eteaye equa to thal af he ate which beara it, Ik 1s indieated by the abbreviation km. There are to Kinds af til: the majer ‘je the trill ta often weed in musio, ons should etm at making it britiiant, flewtble, ively and Went, without mick quabttien the tritt com only spate the ody, "hen till, it tadlepentable for the two meter to have the sane dyramie éntousity, This renult (x obtained by prowing withthe finer ‘Po eel wal, practie ately at Sirk, hon gradually énerenes the spoed until the fingere have acquired all the daivable flewbiity and tight “A frill teaye begins with the mote that Boars tf. Sometio Orit differently ond inate it login onthe oppor nots or the nate below. THis fe vp fingerings, re the ty whim or for speial resins, comporere dap ndioated by m tna nate. Om thie eubjort a follow sac ether, the ena terminal noes art omitted, exept thse af the last one, ning of th outed trill werace ac ending the fit ‘Mert are tovera tuys ef preparing and ending til. IF 48 le to good tate toute these appropriately TRILLS AND HELD NOTES {in test, when having to till om a hy, nat to Lift the finger right aff thie key. The distances cover thus reduced 1 & minimum, and th tid will be quicker and moro eve “ree soercioe which follows, bin to til as guilly as pesidlo,ewolting without jerkinsee wp (0 forte; then éiminendo fo pantssino atthe end, without adding any af the nding onto tho iin which flows. ‘the diamand-shoped fruree tn the fingerings which follow indicate whether the Aumb-hle should b open white) er elosd (ack) (rs exercise Is quite essential tothe singte alm of aquiting great agility) very tose a at a a @ g a3 rid with the third rid withthe third ad Fagor nyotheat maa fngre uta Teccingling Hod Teoasing Rey Now rt on pane See eet ara wen many feed fete Bon 9 g e aL 24005a rit sea srt tse ath ras wath Royneso be ‘Bey Noto a oh a seston Riacetpiny — eye ta 2088" & e_ Brae came tt, & ‘at wey sy, oco\0c grace Zier 2D wie toy rit with th hin wit ppligorany tht Qimewtngeyto4 Suerte a rey od 4) Quen 2 2 2 i. L 373 = 83 ga 33 = 33 oe gp pit i ‘Tritt with Raye IiB-gaqpereeo roee\eeo & THE INTERPRETATION OF CBRTALN TRILLS te iting eounsle . Ste tit rudely om the “faker me sod at an porate bre ‘estos Porth Symptons = Stoctong the 6 obey oo Pte Fi Anatnerexompie ‘aby she mame Symphony CUALN OF TRILLS WITHOUT ENDINGS ‘riting without eesing from lato; ely play th endings mare.EXERCISES ON TRILLS v9 ey Pee Be ee Be ey ef Pr Tne aT wi te indwsingr gt hand aft and” Meh oy ‘or therieh hand ‘Noses ray Yan" a, %. With the tard nse Wie the tnd finger WU et ‘lis ient hand gp SOC Norrands 3 eae , — Trill with tho (rey Nott | AVTake the Bak wite RaysTeTBie, (Key 805 Yo) Koy B [aa onteteanisngr Sillowing ahxey Mosove| and it with oy 7 a8 tively enn ay litasy now Hays cokey noe | Shae adn shat he gene of elena PL wth te etn of te [Te rd mie oe Vay Bo (te oa Iden ner iene | far rig he Anzio150 DEL TRINO EL Trina ox ta repticiin ripida « indeterminate de dos nates de grades conjuatos. Su daraciin es sempre igual a te de be wta gue to eva y 20 marta por ol signa de abreviaaton MP. Exton dos clases le trinas, el trina mayor de un toro y el €tx9 menor Fle wn semiclno, ‘Como ef aso det trino os muy frecuens, se tratara de hacerle flexile,brillette, vivo y tigere, enatidades sin las cuales al Ti 0 mo hard mds gee descomponer le melodia, Es indispensable, para ben triner, gut tongan le misma tatonsidad lar dot nolat. Para eco et necesaria aceatear lt nota @ corns “Estudiar, primero, lentamente; poco a poco aumentar la rapidin hasta gue Aayen adguiride lot dedos toda ln flexiblided 9 le Ligeres desaables BL Trina comienza siempre por la nats gue la leva. Algunas veces pi ye ensna se tndion por una nota pega ios Trine ce suceden, descondiondo, se Suprimen las pepueies notes de la lerminaciin, axceptuanto la dat ultima, porque extonces ef principio dal segundo Trina sire de fisat al primero ‘ey varias mansrar ae préparar y de termine? am Priso sein of futt, TRINOS ¥ SONIDOS PILADOS Cuando 20 trina en a Llave, Sale més no levantar ol dedo gue trina redwcfondo aot al minino su recorridh; el Prins sera mis igual'y mat ripias Ex ef Ejercicio siguiente: AL principio trinar piano, eunentar progresivanente, sin sacuiides, Aas et Fortes tug dismineir es (a ef Pianissino y aoabar sin terminacisn om ln minima Que sigue ‘Lor losenjas on lot digitociones que sigwen ndizon ri ha de ester abierto (binaco) 6 cerrade (negro) el aufero del pulgar. elo fin de abtener muchs agitide), 2 Ne1Z ms = <= Bef Ep => Triner solamente Trinar cm elematar cmelanuter tins: Yoh mada gi abrin Seite beeen 4 pare cae esige: Tretans 08 08 sr BE asi 3°S Aine stent ap SAT hee Witch, HE vice Paky ort an con dndizve | == aL2i35151 Trinar com fe Prinar com fp Tyme je, Pin’ astons ines tb at igor io eae tn) fo ay = e isms frien po0o prctica oro may Jus Trinor conn Conta Lave G tine ih Sen 2 Peper conte Lisp, Trivers nar cn eaery 2 Gare enc ces gs Te bo Tip 3 SSS == @ "Si teas tach g 2 2 fBaicetina he tie 7 F z 2 ey & if bor tsp Se te Pub = ~ “3 Breiner con le 3 8 Eine #8 @ 2 eS SSS SSS} 62, Geel = 3 & Tronar co tes il a 3 tt rm | vy A INTERPRETACION DE CLERTOS TRINOS Berar bruscamints al tina ox =a er segundo tmp sepera fe hee 0 bah ce 3 ore Eo ol siguionte ejemplo aon da ta euarte Sin Fania ie Beethoven Otre ejemplo Misma siececn mismo Sinfoni: : ‘como anes SBRIP DP TRINOS SIN TERMINACIONES [Triner sin cesar ite Nr solamente hacer lat erminnconte indicat AaL24925152 FILRCICIOS SOBKE LOS TRINOS a Paik Fe ee oy ey oe ein eee 2 owl TE FEE to eaten HOS ween pie # = Se < SSE Trinar con (4) Llawe W221, i Baser ef Mibcon a Lire 784. 0) Lime BOS. 0) Lime 8. (1)S3enen cx Loner, os siguientes (a) Giese Nl y erin con tag Lirot P98.” |a\datennde to olf) Liew Ito nce ee Waves: (3) Lime Po, | {Com ef angler y ef (a tp ede ef on fae es Moderat wa Win a reef mn dace aL 24005ab zivas154 DU MORDANT: THe MoRDANT DEL MORDENTE Lz Modan init parce signe =, est ua ute | The Mordant, init y the sign —,ts a very | _ El Morden, inicio por et signo =, es vn tre cou et sane emianson shor iil tout an ending shih tks ts vase | Teno roy co semaine cre ein [Eto qu le pace. On dl exe sur eae note | from te note lich Boat I as te played an | ote que nev, no se eae sg pass sno inne et non avant. La pamite ds pits noes | th acral nore and nt Before Only the rat of he | en ena not, Slam esc fT nn ‘frment lemon ova ele te aeee, ‘mall nies forming he mordont las lobe accented | elas ques gu fermen l Mose, Exécutr les M sulvent comme cee Play the flowin merdente ude Bet : ot plus Antegeetto Miler ast los Mordentes sigwantes y nds jos. . of ten fa," bien i ytd j= FO ee eh SYModerato fee aL 24925Pit dim. au Mowv'(In Tempo Nal Moots)” ae ae ai 24925137 Andantine : yee me Teg vito king ek ‘ib rpae cqusuaues aurtcesmn rome | AFeW anpagersiy THE FoR ALGUNOS ARPEGIOS EN FORMA ‘DE CADENCES PARFAITES ‘OF PERFECT CADENCES DE CADENCIAS PERFECTAScanes Ratti — eon exatess sues anwBes umestsnatyecons | _ccos somes LA0s sitegeatias ° : H <9 AL 26025 ~Fs L24025260 grupes SUR LES DIFFERENTS REGISTRES STUDIES IN DIFFERENT REGISTERS ESTUDIOS SOBRE LoS DIFERENTES DELINSTRUMENT (OF THE INSTRUMENT [REGISTROS DEL INSTRUMENTO 0 Trin Fe], Mott legato | bien igandoY wresc. Te Ft. in... A penas mis ral : : py horn Set ketronlybrilnte ——— L925ly 5 area = 7 Lftheefe aL2ioasPaco allegro pa Allegie_————nf N19 J = qe ‘agra iyeiate Witmad AL zios165, gee trde © Cone “aie wer ee tye eet AL 24025166 Allegre moderato 8 Tempo fom + ~ res 25 sas pi Ma Cs L292