download ebook universal method for saxophone pdf sách học kèn saxophone cơ bản đến nâng cao đây là bộ sách học kèn saxophone rất hay được soạn bởi tác giả paul deville

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World's

Edition

Universal

method

for

tKe

vSaxophone

Paul

de

Uillc.

UNIVERSITY OF TORONTO|

l&.

4. 'l>4,

EDWARD

_JOHNSON

MUSIC

LIBRARY

The largest and Jttost Complete Method eoer writtenfor the Saxophone.

Basedupon the celebrated_{works of}

A.

_nAYEUR,

H.

_KLOSE,

and

others.

And

containing the complete fingeringsfor

The

Latest

Improved

Saxophones

Price _Paper

$3.50

Price Cloth

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T

502

V

'5

APR

24

1964

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Preface.

HE

Author

takes _{great pleasure} in _stating

to the _Student, that _everything

which

patient research, practical experience and

knowledge

(of

my

favorite instrument)

could _suggest, has been

_brought

to bear

to

make

this the _greatest

and most

com-prehensive

Method

for the

Saxophone

ever _attempted.

The

_plan of _study is

thorough

and

progressive,

and

if strictly adhered to,

cannot fail to

_produce

a first-class per
former.

Yours

truly,

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ZLbe ^Universal

_{fllktbob for}

_Sa*opbone,

InDei

PAGE

Rudimentsof Music ₁₆

A

listofthe words usedin ModernMusic

How

tomake _your own Reeds ₁₄

The _Saxophone ₉

Instruction forthe _Saxophone ₉

How

to hold the _Saxophone

g

Position of the Performer ₉

Position of the _Mouthpieceinthe Mouth 10

The Reed _..!!!._{.i! ...'.'.!} ₁₀

Manner of controlling the toneetc ₁₀

Breathing 10

Method of _Study _'.'...

.

''' ''' '''''

['"."

''
[[ i

General Remarks

_H

Chart of _Saxophone with 11 and 12 _keys

Chart of _Saxophone with 15 _keys

Improvements added tothe _Saxophone ₂₆

Preparatory Exercises 27

Exercises in _Slurring ₃₁

Progressive Exercises on time, etc 39

Exercises on Rests ₄₁

Twenty Progressive Exercises 45

Eighteen Exercises in Articulation 52

Preparatory Exercises on the High Notes 55

Chromatic Scale of the_Saxophone ₅₇

Major and MinorScales in all _Keys ₅₈

Major and Minor Chords in the _Keys mostused 62

Sixty Exercises of Mechanism 63

Fifty Exercises from low Bbto

F

above thestaff ₆₇
Twentyone Exercisesondetached Notesin different _Keys 92

Twenty-Seven Exercisesfor_{gaining execution} in thedifferent _Keys 98

Three Exercises onStaccato 108

Grace-notesand Embelishments 110

TheShake 115

Table ofShakes 115

The Mordent _{or Passing}Shake 118

Exercises on Shakes 118

Fifteen Cadenzas 121

Introduction of_Adagio Beethoven Senate "Pathetic" 123

Ten Duets for

Two

_{Saxophones by} E. Mayeur 125

Six Duetsfor

Two

_{Saxophones by H.} Klose 144
Exerciseson _Eighth notes and Sixteenth notes 144
Exercises on dotted _{Eighth and} Sixteenth notes 158
Exercises withSixteenth-note Rests 160
Exercise on Dotted Sixteenth-note andThirty-Second-note 161

Exercise with Thirty-Second-note Rests - 161

Exercises on_Triplets 162

Forty Exercises on Slured and Detachednotes 165

Seventeen Exercises_{on Syncopation} 179

Twenty Operatic Melodies 184

Exercises forthenew _{fingering of}the_improved _Bb, B andCff keys 197
Progressive Majorand MinorScalesand Exercises 201

Interval Exercises ontheMajorand MinorScales 208

Studies onthe _Majorand MinorChords 212

Exerciseonthe ChordoftheDominantSeventh 214

Exerciseondifferent Diminished Sevenths .

f

214
Exerciseonthe successionof fourDiminished Sevenths 214

Ten Studieson Apeggiosin different_{Major Keys} 215

ChromaticExercises 216

Eight Fantasias 218

Eleven Progressive Studies 226

Theme

with nine easy Variations 236

Theme

withVariations 240

Twenty Studiesby A. Mayeur 243

Fifteen Studies 263

FourSolos 280

AirwithVariations 288

FourConcert Duets 290

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The

Universal

Method

for

the

Saxophone

By

PAUL

DE.

VILLE.

HE

Saxophone was invented about

the year 1844, by Adolph Antoine

Joseph Sax. He was the son of

Charles Joseph Sax, the celebrated

mr.sieal instrument maker of Paris,

France.

Since the instrument was first

invented, it has been _greatly

im-proved, and now thanksto theskill

of Messrs. Evette and Schaeffer,

Paris, France, it has developed into

the Saxophone aswe know it to-day.

The body of the Saxophone, a parabolical cone, is

made ofbrass and provided with a set of keys,

The mouthpiece is similar to that of the clarinet,

and is fitted with a single reed.

The fingering of the Saxophone is similar to that

ofthe Oboe, a clarinetist can readily master same after
a little study.

The tone of the Saxophone is soft and penetrating

in the _upper register, and in the lower register it is

full, rich and profoundly impressive.

One great merit of the Saxophone is its nobility in

sustaining singing tones. Itstone is richer and has far

more volume than the clarinet, and it has an

extraor-dinary range ofswell from soft (pp.) to loud (ff).

The full _harmony of a _quartet of _Saxophones 

pro-ducesa _grand effect.

In brief, the tone of the Saxophone is peculiar to
itself, presentingvague analogies with the tones of the

'cello, clarinet and oboe.

The Saxophone is now an _{indispensable instrument}

in bands, and also fills an _{important place} in large

or-chestras.

Saxophones are being made in _many different sizes,

and are classed in two series:

Series A.

Sopranino Saxophone in

F

Soprano Saxophone in C

Alto _Saxophone in

F

Tenor Saxophone in C

Baritone Saxophone in

F

Bass Saxophone in C

Series B.

Sopranino Saxophone in Eb

Soprano Saxophone in Bb

Alto _Saxophone in Eb

Tenor Saxophone in Bb

Baritone Saxophone in Eb

Bass Saxophone inBb

Contra-bass _Saxophone in Eb

The first series (A) is for orchestral _use, and the

second series _(B) for the military band. Saxophones,

when they are used in _military _bands, are _generally

employed in _{choirs of four,} each ofa _{different pitch, as}

follows:

Soprano in Bb, Alto in _Eb, Tenor in _Bb, and

Bari-tone inEb.

A

Bass in Bb and Contra-bass in Eb are sometimes

used, and (though very rarely) a Sopranino in Eb.

It is now quite common to see in Saxophone

quar-tets two Alto _Saxophones in Eb used, one taking the

part of the Soprano in Bb.

The Saxophone used most as a solo instrument is

the Alto in Eb.

INSTRUCTIONS

FOR THE

SAXOPHONE.

The _compass of the Alto and Tenor Saxophones is

two octaves and a _major fifth.

1.0. =

^f^1

Bk Bt F

The _compass of the Soprano, Baritone, Bass and
Contra-bass _Saxophone is two octaves and a fourth.

^

BV Bt Ek

On the old model Saxophone the lowest note was:

Themusic forall _Saxophonesis writtenin thetreble

clef.

HOW

TO

HOLD THE

SAXOPHONE.

The Soprano Saxophone is held in the same

man-ner as a clarinet. The Alto, Tenor, Baritone, Bass and
Contra-Bass are held, withthe lower part orbell ofthe
instrument _resting against the right leg of the

per-former, but not too much on the right side, for in this

position the left arm is stretched and the right arm is

bent, thus interfering with proper execution, and also

tiring the arms.

The right thumb should be put below the support,

to hold the instrument _{in position,} but not to hold it

up;the strapwill do that. Especially avoid restingthe

instrument on the thumb, for this tires and paralyzes
the fingers.

The thumb of theleft hand, supported on theround
mould, will at the same time be in position to use the

two octave keys, and in order to be able to use these

two keys, the thumb should always rest in the same

position, thisis_{very important}for equalityof fingering.

POSITION

OP

THE

PERFORMER.

In sitting or standing, the body must be

ERE^T,

head _up f.nd _steady.

The chest must be well _{expanded, which} facilitates

the action of the lungs and allows the performer to

bring out sounds both long and well sustained.

The arms should fall _naturally along the

bcty-The hands must be held without contrad'on or

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arched and fall rather than strike _upon the plates and

keys.

The fingersmust

NOT

reston the _plates_{or keys,} as

this interferes with smooth execution. With fingers

flat, instead of being arched, one cannot _{properly take}

the

G

_sharp, C sharp,

B

natural and low

B

flat _keys,

the left little finger is _necessarily _raised, _{whereas with}

the fingers arched on the plates, the little finger takes

a _good position, and easily commands the above notes.

Touch the keys with the tips of the fingers.

APPEARANCE

OP

THE

PERFORMER.

When

_performing before an audience bear a calm

appearance, emit the sounds without showing

ex-ternally the difficulties that have to be overcome; it

will _greatly _{impress those} around you with the 

ap-parent facility of your execution.

On

the other hand, itwould offerthe _{company some}

temptation to _laugh if _{you were} to move your head,
balance the body, raise the shoulders as a mark of

ex-pression, or fill _up _your cheeks with wind.

POSITION

OF

THE MOUTHPIECE

IN

THE

MOUTH.

Insert about one-third of the _mouthpiece into the

mouth, the reed _being underneath. The lower _lip
should be a little drawn in, so as to cover the teeth:

and the _upper lip slightly pressed downward, to

pre-vent the teeth biting the mouthpiece and damaging the

quality of tone. The mouthpiece being thus held by

a light pressure of both lips the air cannot escape by

the sides of the mouth, the reed can then _{act freely} and

perform its vibrations with all desirable facility. The

tone on the _Saxophone is _produced _by the _tongue,

which sends the air into the instrument and at the

same time causes the reed to vibrate. To produce a

tone the player must take in a sufficient quantity of
air and force it into the instrument _by a short stroke
of the _tongue _{and by} _pronouncing the letters T or

D

or the syllables

"Too"

or "Doo", according to the
quality of _{tone required.} Strike the reed about half

an inch from its _top (or thinnest part), with the tip

of _{the tongue.}

THE

REED.

Great care should be taken in choosing a reed, as

the _{quality of the tone} _depends _upon the reed.

When

the reed is "hard" and the _mouthpiece _open,
the quality of tone is _very bad.

In the low notes the tone is loud and hoarse; in

the middle notes it is husky, and in the high notes it

is thin and the notes are false.

When

the reed is "soft"and the _mouthpiece closed,
thenoteshavethe tone ofa reed pipe and becomeslow,

and if one wants to raise them the reed _hugs _against
the lay of the mouthpiece and there is no sound.

On

the other _hand, when the _mouthpiece is a little

open and the reed of medium _strength, you can

regu-late _{the tone,} diminish or increase it at will, and all

the

m

tes are smooth and in _tune, and the tone is _full,

even and mellow in _any of the registers, low, medium

or high.

An

apt student will soon be able to choose a _proper

medium, and also, perhaps, learn to "touch up" his
reed _by _judicious _{manipulation,} to _get it to _speak

easily, w.lth a full yet sweet tone.

Reeds are made of Frejus cane, which must be

ripe, but not overripe. For aBaritone and Bass

Saxo-phone a softer reed will be better; while for the

So-prano and Alto a more substantial one will be

prefer-able, with a medium for the Tenor.

The reed of the _Saxophone _{being large} and flexible,

too much pressure closes it, therefore a slight pressure
only is _necessary to _produce _high notes, contrary to

the effecton a Clarinet.

MANNER

OF

CONTROLLING

THE

TONE, ETC.
The control of the tone consists, first, in sustaining
with _strength; _second, in _emitting it _softly and

husbanding it; third, in increasing and diminishing
the tone without altering its _pitch.

During the emission of the air the tone must be

equal, the same at the end as at the beginning.

When

the lungs are filled the tone is _naturally _stronger at
the beginning, afterwardsweak. Thismust be _guarded
against by reserving sufficient breath for the end.

It is of the _greatest _importance to have a _good

mouthpiece and a _good reed, without these the student

will _try in vain to _produce a sweet tone.

BREATHING.

Taking breath at the right time is an _important

matter. _{Every melody} consists of sections which

_may

be _compared to _{the separate} clauses ofa _sentence, and

as these are indicated _by _punctuation so the sections

of _melody _ought to be _{marked by} the taking of breath

at the correct moment. This should be done _very

rapidly, without noise, and without opening more of

the _lips at the sides of the _mouthpiece of the

instru-ment than is requisite for the inhalation of the breath.

The face of the _performer should _give no sign of the

action, and the moreimperceptibly it isdone the better.

Every breath taken should be a deep one, completely

filling the lungs, so as to enable the performer to _play

long sections without a break.

In the exercises in this method the _place where

breathisto betakenis marked by_{this sign} (') over the
stave.

The management ofthe breath is, likethe flexibility

of the _fingers, a matter of practice difficult at first,

but acquired by perserveringstudy.

HOW

TO

PRACTICE.

Practice as near as possible one regular time each

day. For it is better to do so, if only for a short time

regularly, than to practice for a long time one day and

neglect it for two or three.

The Scales. Whatever time the student can devote

to practice, at least one quarter of that time should be

devoted to the _practice of the major, minor and

chro-matic scales.

Studyintelligently, thatis _{to say,}

DO NOT

_{play the}

exercises too _quickly, _always follow tbe _rhythm, _give

each note its full _value, _keep _{the pitch} of each note
well _up, attacking it _freely and _sustaining it to the

end. The pupil should practice daily long sustained

tones, taking successively every note of the chromatic

scale. This_studywill _imparta_{beautiful tone,} formthe

embouchure, and give roundness in _playing.

As _{the pupil progresses} with the following studies

he will find additional instructions at various point?

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GENERAL

REMARKS.

The Strap bears the weight of _{the instrument, not}

the thumbs.

The fingers must be arched, and the keys touched

by the tips of the fingers.

The _mouthpiece must be _carefully cleaned after
playing.

The pads should be kept in _good order, and the

springs of the keys oiled occasionally.

The instrument should always be _wiped after _using
to _prevent verdigris forming, and a piece of linen or

cotton cloth passed through the crook to which the

mouthpiece is attached.

The performer must be very careful and not allow

the _pads to remain damp after _using the instrument.

For when the _pads are wet and are allowed to _dry of

their own _accord, they become hard and do not cover

the _holes, which makes the instrument _very difficult

to _{play, also} lowers the _pitch and _puts the instrument

out of tune.

TAKE CARE

TO

AVOID

THE

FOLLOWING

FAULTS.

1. _Wasting of the breath.

2. _Spluttering with _{the tongue.}
3. _{Direct breathing} with the chest.

4. _Uncertainty of _tonguing, i. _e., unsteadiness of
tone.

5. _Nodding with the _head, which _{disturbs tonguing.}

6. _Loud, _{audible breathing}whenone ormoresounds

are being blown.

7. _Swaying motions of _{the body,} _{especially of} _the

arms, which interferes with the _fingering.

8. _Beating time with the foot; in _short, whatever

interferes with exact and _easy execution _agreeable

presence, good position of the body, etc., must be

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List

of

the

_Principal

_Words

_used

_in

_Modern

_Music

With

their

Abbreviations

and

_Explanations

'

j

V

'

i'J,*9 ,at> atempo,in time

Accelerando(accel.)._{Gradually increasing} the _speed

Accent _Emphasis on _{certain parts of}themeasure
Adagio .

Slowly leisurely

Adlibitum(ad lib.). At

.pleasure: not in strict time

A due (a 2) To Be _played _by_{both instruments}

Agitato Restless, with agitation
Al or Alia In the _style of

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

Allegretto Diminutiveof_allegro;_moderately

fast, lively;

faster _{than andante: slower than}

allegro

Allegro.. _{Lively; brisk, rapid.}

Allegro assai

....

Veryrapidly

Amoroso _{Affectionately}

Andante In moderately slow time

Andantino . . . .'.Diminutiveof_andante;

strictlyslower than an

dante, but oftenusedinthe reverse sense

Anima, cont . . . .With animation

Animato }

A

piacere. At pleasure; equivalent to adlibitum

Appassionato. . . .Impassioned
Arpeggio

A

/ broken chord

Assai

Very; Allegro assai, very rapidly

A

tempo In the original tempo

Attacca Attackorbegin whatfollows without_pausing

Barcarolle

A

Venetianboatrhan's _song

Bis

...

_{.Twice, repeat the} _passage

Bravura _Brilliant; _{bold; spirited}

Brillante _Showy, _sparkling, brilliant

Brio,con . . . .With much

spirit

Cadenza . . ; . .

An

elaborate, florid _passage introduced

as an embellishment

Cantabile In _{a singing} _style

Canzonetta

A

short _song or air

Capriccio a . .

^ .At pleasure, ad libitum

Cavatina

An

air,shorter a.nd simpler than the_aria,

and inone division,without Da _Capo

Chord. . .- The harmonyof threeor more tones of

different_pitch _produced _{simultaneously}

Coda A _supplemental the endofa_composition

Col or con With

Crescendo(cresc.) . ._{Swelling; increasing} in loudness

Da

or dal From

Da Capo (J). C.) . .From the beginning

Dal Segno(D. S.). .From the sign

Decrescendo(decresc.)_Decreasing in _strength

Diminuendo(dim.).Gradually softer

Divisi _Divided, each _part to _{be played} _bya
sep-arate instrument

Dolce (dol.) . . . _.Softly; _sweetly

Dolcissimo . . . . .Very sweetly and

softly

Dominant. Thefifthtoneinthe _majororminor scale

Duetor Duo

....

A

composition for _{two performers}

E

And

Elegante Elegant, graceful

Knergico With energy, vigorously

Enharmonic . . . .Alike in pitch,butdifferent in notation

Kspressivo Withexpression

Finale The concluding movement

fine The end

Forte(f) Loud

Forte-_piano

(fp) . .Accent _strongly,_diminishing _{instantly to}

piano

Fortissimo(ff). . _{.Very loud}

Forxando(fz>~) . .Indicates that a note orchord isto be

strongly accented

Fona

Force or tone

Fuoeo,con With fire; with spirit

\Jriocoso _Joyously; _playfully

Giusto Exact; in strict t'ime

Grandioso _Grand; _pompous;_majestic
Grave _Very slow and solemn

Grazioso _Gracefully

Harmony

In general,acombination of tones, or

chords, producing music

Keynote The first_degreeof the scale, the tonic

Largamente . . . .Very broad in style

Larghetto Slow, but not so slowas Largo; nearly

like Andantino

Largo. . . ,\. . . .Broadandslow; theslowest tempo-mark
Legato Smoothly, the reverse of staccato
Ledger-line. . . .A small added line above or below the

staff

Lento

...

1 . _.Slow, between Andante and Largo

L'istesso tempo. . .In thesame time,(or tempo)

Loco In _place.Playas written, nolonger, an

octave higher or lower

Ma

But

Ma

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

...

.Majestically; dignified

Maggiore . . . . \ _.Major_Key

Marcato \ .Marked

Meno Less

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

Ul\J
'IU

.Quicker
.A little

.Gradually, by degrees; little_by little

Mezzo-piano (mp) .

M9derately soft
Minore _{Minor Key}

Moderate _Moderately. Allegro moderate,

mod-erately fast

Molto _{Much; very}
Morendo _{Dying away}

Mosso. _Equivalent to _rapid. Piu _mosso,_quicker.
Moto , . .Motion. Con moto, with animation

Now

. .Not

Notation .The art of _representingmusical sounds

by means of written characters

Gbbligata

An

indispensable part

Opua (Op.)

A

work.

Ossia . . ... .'. . .Or; or else.

Generally indicating an
easier method

Ottava (gv a) .To be played _an. octave higher

Pause _(/?\). . . .The _{sign indicating a}

pause or rest.

Perdendosi _{Dying away} _gradually

Piacere,a At _pleasure
Pianissimo(pv) . .Very softly

Piano _(p) . . . _.Softly

Piu More

Piu Allegro . . . .More quickly

Piu tosto

Poco orun_poco.

Poco a _poco. . .

Poco piu mosso . .A little faster
Poco tneno

A

little slower

Poco _piu

A

little faster
Pot _Then; afterwards
Pomposo Pompous; grand

Prestissimo . . . .As quickly as possible

Presto

...

_Very _quick; faster than Allegro.

Primo (ino). . . .The first

Quartet . . . .A _{pjece of} music for four performers.
Quasi As if; in the style of

Quintet

A

piece of music for five 

per-formers

Kallentando(ralL) Gradually slower

Replica. . _Repetition. Senza

replica, without
repeats

Rinforzando . . . With special emphasis
Ritardando (rit.) _.Gradually slower and slower
Risoluto _Resolutely; _bold; _energetic
Kitenuto In slower time

Scherzando _Playfully; _sportively

Secondo (2P) . . .The second _{singer, instrumentalist or}

part

Segue Fpllow on in similar style

Semplice _{Simply;- unaffectedly}

Senza Without. Senza sordino without mute
Sfurzando CsfJ. . _.Forcibly; with sudden emphasis

Simile orSimili. .In like manner

Smorzando (smorz)Diminishingin _{sound. Equivalent} to

Jfortndo

Solo .For one perfo mer only. Soli; for all

Sordino

A

mute. Con t _rdino, withthe mute

Sostenuto Sustained; prolonged.

Sotto Below; under. Sottovoce,in a subdued

tone

Spirito Spirit, con Spirito with _spirit

Staccato Detached; separate

Stentando _Dragging _{or retarding} thetempo

Stretto orstretta. .Anincrease of speed.Piustretto faster

Subdominant. . . .The fourth tone in the diatonic scale
Syncopation . . . .Change of accent from a strongbeat

to aweak one.

Tacet ."Is silent" Signifiedthatan instrument
or vocal _part, so marked, is omitted

duringthe movementornumberin_question
Tempo Movement; rate _{of speed.}

Tempo primo . . .Return to the original _tempo,

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

ThemaorTheme. .The subject or melody.

Tonic The key-note of _any scale.

Tranquillo Quietly.

Trtmolando,Tremolo

A

tremulous fluctation of tone.
Trio

A

_{piece of}music for_{three performers.}

Triplet

A

groupof three notes to_{be performed}

in thetime oftwo of_equalvalue in the
regular rhythm.

Troppo Too; too much. Allegro,

ma

nontrovvo,

not too _quickly.

Tutti _All; all the instruments.

\Jn _A,one, an.

Una corda On one _string.

Variatione The transformationofa _{melody by means}
of harmonic,rhythmic andmelodic changes

and embellishments.

Veloce _{Quick, rapid, swiff}.

Vibrato .A_wavering _tone-effect,whichshould be

sparinglyused.

Vivace With_vivacity; _bright; _spirited.

Vivo .Lively; spirited.

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HOW

TO

MAKE

YOUR

OWN

REEDS

While

reeds

of the _{best quality}

_may

now

be obtained in

music

_{supply houses,}

some

_performers

_prefer to

make

their

own

_reeds,

and

at least

some

_knowledge

of the

process

of reed

-making

or correcting faults is invaluable.

(The

_figures _interspersed

refer to

_{diagrams on}

_following _page.)

First cut off _{a piece} of

cane

the thickness of a half dollar coin (l)

and

of the

size of the lay (3)

(The

_part of the

_mouthpiece

where

the

reed

is laid

and

held

_by

the _ligature or reed-holder).

Then

rub the inside _part of the cane

on

abroad

fine cut

file until the surface is _perfectly _flat, after

which

it

_may

be

_placed

on

the _lay (3)

and

the

screws

of

reed-holder

_tightened to ascertain if the

_opening

(5) is correct.

_Holding

the

_mouthpiece

_sideways

_against the _light the _opening(5)

should

extend

downward

about
one inch.

Remove

the reed

from

_mouthpiece

and

with

_{a sharp} knife trim

down



gradu-ally

from

centre (6) to top (7) being careful not to take too

much

off at first as later

adjustment

must

be allowed for.

The

_edges

should

be rounded

from

where

the _cutting

begins (8)

and

show

an _elongated _angle

from

the middle.

The

cane

should

be thicker in
the

middle

(9) than at the

_edges

(10).

The

thin

end

of reed can be

_shaped

with a

_sharp

pair of scissors or a reed-cutter. If

,

on

trial,the

reed proves

too hard> file off the

thickness at _top of _reed, _sloping

_{toward edges}

(11). If the _top is _already thin

_enough,

file off

between

the centre (6)

and

the _top_(7), but

with

_great _care, for should too

much

be
taken _off, the tone will be _spoiled.

Then

with

_{a very}

smooth

file file _straight across the

top of reed to

a

depth of g of an inch

_downward;

this will leave thin _part

even

and

al

-most

_transparent.

_Again

_place the reed

on

_lay (3)

and

_{give a} side

_glance

at the

_opening

(5); should it be too

close, loosen the top

screw

of reed-holder

and

tighten the bottom screw.

Reverse

the

_process

if the

_opening

is too _large.

The

flat surface of the

reed

()

_may

become

_warped

and

_uneven, in

which

case

rub _carefully

on

_{the large} file or

on

the
fin-est

_sandpaper

laid

on

a _perfectly

smooth

or flat _{surface, preferably,} _plate _glass.

When

left

on

the

mouth

_-piece for a few _days, all the small faults in a reed

_may

van-ish; but the real fault

_may

be

in the

_mouth-piece,

if located there take the _mouth-piece
to the

maker

or a _repair

_shop

for _refacing.

If the

reed

still _{remains too hard,}

adjust it

on

_lay so as to

show

a trifle

below

_top
of the _mouth-piece,(13) if too soft _adjust it to

show

above

the _top _{(14), this}

_experiment

will at

once

show

the defect. In the first

case reduce

the reed at

end

of the

curve

(15), in the

second

_case, cut off the _top (16)

Future

_warping

of the

reed

_may

be corrected

_by

_using _large file _{or sandpaper,} but
carefully avoid

_making

reed

too thin at the heel (17).

</div>
<span class='text_page_counter'>(11)</span><div class='page_container' data-page=11>

.(14)

(11)

(17)

,.Heel

(10)-(11)

''X15)

(1)
Thickness

Ligature

or Reed Holder;

(4)

(6)

</div>
<span class='text_page_counter'>(12)</span><div class='page_container' data-page=12>

RUDIMENTS

OF

MUSIC

Before the student can

commence

to _play

_any

instrument it is _necessary that he should
be acquainted with the

rudiments

of musical Notation.

The

_signs,

which

_{indicate pitch}

and

duration of _{a musical sound,} are called Notes

figured thus:

o

J

J

J

1

H

Jj

etc.

They

are

named

after seven letters of _{the alphabet;} C. D. E. F. G.

A.

B.

and

are
writ-ten _on, _{between, above} or

below

five _parallel lines,

r=z=

which

are _{determined by} _Clefs, _placed

on

different lines.

For this _instrument, _only the treble or

G

clef

cond line. J

The names

of the notes on the five lines are

-called the Stave, the

names

of

is _used,

which

is _{placed on} the se
-: /f

ẫ^ ~~l~~ f I

of the four _spaces

</div>
<span class='text_page_counter'>(13)</span><div class='page_container' data-page=13>

COMPARATIVE TABLE

OF

THE

RELATIVE

VALUE

OF

NOTES

A

Whole note
equals

2 Half

notes

or

4 _Quarter note's

or

8 Eighth notes
or

16 Sixteenth

notes-or

32 Thirty second notes

</div>
<span class='text_page_counter'>(14)</span><div class='page_container' data-page=14>

TRIPLETS,

SEXTUPLETS,

AND

ODD

GROUPS

Triplets are

marked

by

a

3

being put over a group of three notes. Sextuplets

are

marked

_{by a} 6 _being _{placed over a}

_group

of six notes.

Three

_{quarter notes}

marked

thus p *

|

must

be played in the

same

time as

two

_{quarter notes}

[

P

P not so

marked;

or six _eighth notes

ff

in the time of four _eighth notes

ff

not
so

marked.

There

are also _groups of five

notes I

F

F F P

P~FP

P PII etc.

seven

and

nine

TIME

SIGNATURES

In, order to

know

how

many

_quarter notes, eighth notes or sixteenth notes a bar contains,
special figures are placed at the beginning of a

movement.

</div>
<span class='text_page_counter'>(15)</span><div class='page_container' data-page=15>

SCALES

The

ladder-like succession of _eight _{sounds, starting} _{from any note}

_and

ascending

or

_{descending by}

tones

and

semitones in _{regular order,} is called a Scale,

and

each

note of a scale is called a _Degree.

Between

these _eight _degrees _{there are} _seven _{intervals or distances,}_five _of

_which

are tones,

and two

semitones.

There

are

two

_principal kinds of _scales,

termed

_Major

and

_Minor,

whose

as-cension or desas-cension is diatonical: i.e. in tones

and

_semitones,

and

a third _kind,

whose

ascension

and

descension is chromatic:i.e. _only in semitones.

For

_{the present,} _only the

_Major

scale will be discussed. In the

_Major

scale the

semitones are situated

between

the third

and

fourth

and

the seventh

and

_eighth
de-grees of the scale.

EXAMPLE

tone tone semitone tone tone tone Isemitone

f=

degree\

/2qd\

/3rd

\

~~J

^

\

/

5th\

_/6th\

8th\

Each

diatonic scale derives its

name

from the

name

of the note

on

the first _degree

-or the root.

There

are twelve

_{major and}

twelve

minor

scales; but not to burden the student
with their

combination

at _{present, only} the scale of

C

will be _given.

The

distance

from

one note to another is called an Interval.

Two

notes

placed

on

the

same

degree do not produce any interval, they are said to be in Unison.

The

intervals ate

named:

the

_Second,

the Third, the Fourth, the Fifth, the Sixth,
the _Seventh,the Octave, etc.

EXAMPLE

Degrees: c

\ o a

4

*

- *

</div>
<span class='text_page_counter'>(16)</span><div class='page_container' data-page=16>

The

sharps succeed each other in the following order:

5 6

sharp,

C

sharp, sharp,

D

sharp,

A

sharp, sharp, sharp.

Thus

it will be seen that if one sharp is

_employed

it must be _prefixed to

F

consequently all F's in that _piece

must

be raised half a tone.

When

two _{sharps are}

employed

all F's and

Cs

must be raised,

and

when

three sharps are

employed

all

F's, C's and G's

must

be raised and so on.

TABLE

OF

SIGNATURES

OF

SHARP

KEYS

Number

_{of Sharps:}

Names

_of the _Keys:

3

D

E

B

6

FLATS

A

flat(b) _prefixed to a note lowers it half a tone.

The

flats succeed

each

other in the _following order:

6

</div>
<span class='text_page_counter'>(17)</span><div class='page_container' data-page=17>

THE MINOR

SCALES

Every major

scale has its relative _minor, the root of

which

is to be found

on

the sixth

degree of the

major

scale.

Both

scales bear the

same

signature.

There

are

two

kinds of

minor

scales,the

harmonic and

the melodic form.

THE

MELODIC

MINOR

SCALE

The

ascending of the melodic minor scale differs from the _descending, the former
hav-ing its sixth

and

seventh degree raised

by

accidentals not essential to _{the key.} In the

ascend-ing, semitones are situated

between

the

second and

third

and

the seventh

and

_eighth de

-grees,

and

in the

descending between

the sixth

and

fifth

and

the third and second _degrees.

SCALE

OF

A

MINOR

Without _Signature; Jlelative to

C

_major.

I tone Isemitone I tone I tone

I tone tone 'semitone I

=4

l*t degree |3r.d 5th

|

TABLE

OF

MINOR

KEYS

WITH

THEIR RELATION

TO

MAJOR

A

minor

E

minor

B

minor _{F$ minor}

_C$

minor

_Gf

minor

D$

minor

_A|

minor

m

*

m

G

major

Gmajor

D

major

A

major

^=

E

major

B

major F|major C|t major

Dminor

G

minor

C

minor

F

minor E\>minor El>minor

Ab

minor

</div>
<span class='text_page_counter'>(18)</span><div class='page_container' data-page=18>

THE NATURAL

l|

In order to restore a note

whieh

has

been

raised _{by a} _sharp(#)or lowered

_by

a flat(!4

a

Natural

%

is

_employed

which

restores it to its _original _pitch.

-Thus

3fcilE|

F

raised

by

a sharp is restored

by

the natural

ES

L

J

|

toits _original sound

1 ff

O

'

or _(ftl>| _J

B

flat to

( _Ijf

I

B

natural.

3' I J I

THE

DOUBLE

SHARPx

By

prefixing a double sharp x to a note the

same must

be raised a

whole

tone.

will

sound

like

G

natural _(fls J \

Thus

F

_{double sharp}

THE

DOUBLE FLAT

\>\>

A

double flat H _prefixed to a note _depresses the note a

whole

tone.

Thus

_(ffl^f BW>

-f

(double flat) will sound like

A

natural

5S

THE

PAUSE

/

A

Pause /c\ _placed over a _note,

means

that the note can be sustained to

an

indefinite
length at the _performer's _pleasure; the _counting _being _interrupted.

THE CHROMATIC

SCALE

Consists of a _{succession of semitones, which,} in _ascending are _designated

_by

_sharps,

and

in _descending

_by

flats.

Thus: etc

'ii

'i'

rr

l!

r

r'rrrTr

|j

J|J

etc.

rr

r

</div>
<span class='text_page_counter'>(19)</span><div class='page_container' data-page=19>

21443-ABBREVIATIONS

Abbreviations are

_employed

in written music to avoid _repetitions of a _{single note}or 
pas-sage.

Thus

instead of
writ-\g four eighth notes:

a half note

marked

with a thick line: wil1 indicate the

same

'

and

for

1 or I

J"

I for

Or

instead of _repeating abar alike

a _sign

marked

thus '/ is used:

etc.

7. etc

TRANSPOSITION

OF

THE

KEYS

When

C

is taken as 1, the scale or

_key

is said to be in its natural _position; but either of

the other letters

_may

be taken as _{1, in}

which

case the scale is said to be _transposed.

As

1

is the basis of the _scale, the foundation on

which

it rests, so the letter

which

is taken for

this sound is _{called the Key-note.} _Thus, if the scale be in its natural _position, it is said to

be in the _key of _C; if

G

be taken as _1, the scale is in the _key of G; if

D

be taken as 1,

the scale is in the

_key

of _D;

and

so on with the rest of the seven letters

; which ever letter

is taken as 1, that letter

becomes

the _key-note of the scale.

In _transposing the scale, the order of the intervals or tones and semitones,

must

be 

pre-served. _Thus, the interval

must

_{always be a} tone

from

1 to _2, a tone from 3 to 3, a semitone

from

3 to _4, a tone from

4

to _5, a tone from 5 to 6, a tone from 6 to 7

and

a semitone

from

7 to 8,

The

interval from one letter to another letter is also the

same

and _{cannot be changed}

thus it is _{always a} tone from

C

to _D, and from

D

to E, a semitone from

E

to _F, a tone

from

F

to G,

from

G

to _A,

from

A

to _B, and a semitone from B- to C. In the _{transposition} of the
scale therefore it

becomes

_necessary to _{introduce sharps} and flats, or to substitute

sharped

or flatted letters for the natural letters, so as to preserve the proper order of the intervals.

First transposition by sharps from

C

to G, afifth higher,or a fourth lower.

</div>
<span class='text_page_counter'>(20)</span><div class='page_container' data-page=20>

It is clear that there

must

be atonal difference between the third from

C

to

E

and

the third

from

E

to

Ek

It has been stated that the tonal difference between two notes on adjacent degrees of the

staff is not _always the same, likewise intervals of a third, fourth, etc., _vary as to tonal content.

The

third from

C

to

E

is called a

_Major

(Large) Third (2 fullTones),that from C.to

Et

is called a

Minor(Small)Third (l tone

and

a Semi-Tone). This classification of intervals belongs properlyto the
study of

Harmony

and

does not necessarily concern the student now.

It will be sufficient to

make

the transposition by intervals as directed,

and remember

the scale ofthe

new

key

we

are playing

in.

DIFFERENT

SHADES

OF

TONE

means: piano, soft

means: pianissimo, very soft
means: forte, loud

means: fortissimo, very loud

means: mezzoforte, moderately loud

cresc. or -

---'

means

crescendo, increasing the sound

dim. decresc. or -

means

diminuendo, decrescendo, diminishing the sound

sf>

rf

or

>

means

sforzando, rinforzando, sharply accentuated

fp

means: forte -piano, loud

and

immediately soft again
p/p

f

ff

GRACES,

EMBELLISHMENTS

OR

ORNAMENTS

OF

MELODY

THE

APPOGGIATURA

The

_appoggiatura is _{a grace note} _{placed above} or

below

a principal note.

When

it is placed
above, it is _always at the interval of either a tone or a semitone.

When

it is _placed

below

the

principal note it should

_{always be}

at the interval of a semitone.

When

the

appoggiatura

is
written so

When

crossed

_by

a small _line,thus:

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

ite

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

Written thus-.

Played

thus:

EXAMPLES

h k ,

_

^

I

II

L

I iJl

>

tr I L

Pa'

r II^JP' J 1^^ fJP JfJ h

i

r

"i

i

T

^

^

There is also a double _appoggiatura

which

is

com-posed

oftwo _{grace notes placed:} the first, one degree

be-lowthe_principal _note, andthe second,one degree above.

Written thus:

EXAMPLE.

Played

thus-.

</div>
<span class='text_page_counter'>(21)</span><div class='page_container' data-page=21>

21443-THE GRUPPETTO

OR

TURN

Is

_composed

of three _grace notes _{placed between} or after a _{principal note.}

The

turn is marke'd
thus: 05.

A

_{small sharp placed} _under

_some

_of _the

signs

thusrf

indicates that the lowest of the
three _{grace notes} is _sharpened. Should the _{sharp be placed above} the _sign thus _do, the

_upper

grace note

must

_{be sharpened;} or in case of a _sharp above

and below

the _sign _c&>, the

_upper

and

_{lower grace} note

must

_{be sharpened.}

The same

rule _applies to _flats, _only that the _grace
notes

must

be lowered half a tone in that case.

EXAMPLES

As. written

As

_played

With

_{sharps and}

flats

THE

PASSING

SHAKE

The

_passing _shake, often written thus _AV,

must

_{be played quick}

and

round in the _following

man-ner:

As

written

As

_played

THE

SHAKE

The

shake or _trillo,

marked

thus tfr consists in the alternate _{repetition of}the note

_marked,

with the note in the _{next degree}

above

it.

As

written

As

_played

Chain

of

Shakes

</div>
<span class='text_page_counter'>(22)</span><div class='page_container' data-page=22>

21443-Improvements added

to

the

Evette

and

Schaeffer

_System

of

_Saxophones.

First

New

Patent

_Key

of

_High

_B^

and

F.

The

notes Ell

and

F

above the staff are obtained

upon

all

Saxophones

by

using simultaneously three or fourkeys; the

hand

to catch these keys

must

_quit its natural _position;

and

to return _again is _very difficult.

With

Evette

and

Schaeffef's

new

patent key

S

they suppress that

dif-ficulty as

shown

in the following examples.

The

key

S

shuts _{automatically the} _plate (or _{plateau) of the}_{first finger.}

It is _{very easy} to see the

_many

_advantages of this

new

_fingering.

Note:

See

Exercises for this

new

_fingering on

_pages

90

cfe91.

e

Second

New

Patent

El>

_Key.

The

_passing

from

Bl), C\\

and C|

to El> is verydifficultonallSaxophones,

and

_requires _{great practice}

and

_study; various

mechanisms

have

been

tried

in

_remedying

this _{inconvenience;} Evette

and

Schaeffer claim _they have

thoroughly

succeeded

by obtaining the emission of the

Eb

throughthe hole

of the _El].

The

Eb

is obtained _{by lowering} the _plate

5

b_is with the

second

_finger

right hand, third finger being raised.

The

little _finger,

_which

_usually

takes the _Etkey, thus remains free and the _{passing from} _Bt|, _Cl|

and

_C|

to El>

becomes

_quite _easy.

Note:

_Se4

Exercises for this

new

_fingering on

page

75.

Last

_{Improvement on}

the

Evette

and

Schaeffer

_System

of

_Saxophones.

Three

New

Patent

_Keys

for

the

Low

_{Bl>, Bl]}

and

_C|.

Owing

to the successive _improvements

made

_by

them

to the _Saxophone,
the fingering-of that instrument has

become

_very _easy.

Butit _remained

yeta question to be _solved, viz:

how

to beable to obtain
the

low

notes with both hands. _{However, nothing}

_{was more}

_easy, but that

ought to be

met

with.

Such

_question _to-day

_was

_solved _out, _since, _without

any

new

mechanism,

thethree _notes,

low

B\>, B^

and

Cjt

made

bythelittle _fingerof the left _hand,

are also

made

with the

second

(or middle) finger of the right hand, by

_

v

means

of three double _spatulus.

It is _easyto account forthe _{fact that;} _{since these three notes are}

_made

indifferentlywith both hands,

thence all the

most

difficult _passages

become

_{very easy} to be

made

out.

Note:

See

Exercises for this

new

_{fingeringon pages} _197, _198,

199

&

200.

Copyright,MCMVU,eyCarrFischerrNew York.

-e-

o

</div>
<span class='text_page_counter'>(23)</span><div class='page_container' data-page=23>

Preparatory Exercises

Q/^

For

the

Production

of

Tone

and

_Forming

the

Embouchure.

Note: It is taken for _granted, _that, the Student has _already

made

_{himself acquainted with}the Rudiments

of Music.

Observation:

Each

note, in _{the following} _exercises, _should be touched _softly with the_{tongue by}

pro-nouncing the letter Tj the breath

must

be emitted _evenly, so as to _produce a _long

and

_equal note..

Each

exercise

between

_repeat-bars should be _repeated till the execution is _perfect; and befinished
withthe _{note surmounted by} _{the pause:} (/r\).

Exercises.

Pronounce

the letter

T

for each note. Breath should be taken at _{the sign:} (?).
T__

^L

^

A

T

>

3.

T

T

5

1.

HI

2.

-e- -o-

m

^^ _A

Names ofthe notes:

G

</div>
<span class='text_page_counter'>(24)</span><div class='page_container' data-page=24>

Use no more_pressurefor this

*C

than forthe C inthe third space of the staff.

9" 5

o

^

_vr

15.

e

_T

-O- _JCC

*c

Diatonic Scale

of

C

_major.

This _sign

\X

shows where

the half tones occur.

16.

</div>
<span class='text_page_counter'>(25)</span><div class='page_container' data-page=25>

Octaves.

o

t>

</div>
<span class='text_page_counter'>(26)</span><div class='page_container' data-page=26>

30

Diminuendo:

(gradual diminuition of sound.)

T

27.

r*

o

-*r

-P

o

/:

/,

p

3E

~T-/=

*

f--

-p

-p

f

Crescendo -

_Diminuendo:

_(increase

_and

_decrease _{of tone.)}

28.

p

</div>
<span class='text_page_counter'>(27)</span><div class='page_container' data-page=27>

31

Two-four

time.

32.

</div>
<span class='text_page_counter'>(28)</span><div class='page_container' data-page=28>

(9

n

i

O

ffr'iff

33C

Count: 1,2, 3, 4.
5

</div>
<span class='text_page_counter'>(29)</span><div class='page_container' data-page=29>

33

f

.

iflvrrnT-'Count: 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4.

m

_i

iPPP

--4f

>M

r

"

r

'

i

r

Count: i, 2, 3, 4. 1, 2, 3, 4.

9 5

o

f_j I I
c

JJJ

rnrrmr

..

.-.Il^t

Thirds.

?
J

IIJJUMJJ

/,

^

5, ^. /, 2, 3, 4.
?

J

I

J

J.

J

J

I

J

J

J

_J

I

JJ

I

JJ

j

J

i

JJ

</div>
<span class='text_page_counter'>(30)</span><div class='page_container' data-page=30>

34

-/,

i

47.

Count:1, 2, 3, 4.

</div>
<span class='text_page_counter'>(31)</span><div class='page_container' data-page=31>

35

50.

f

rr

r

i

f

r

i

f

rlvTFnT'rmfTrr

Count: i, 2, 3, 4.

JLTOJU

Fifths.

&

m

j

9

T

i

52.

</div>
<span class='text_page_counter'>(32)</span><div class='page_container' data-page=32>

36

Sixths.

53.^

: _1, _2, _3, 4.

</div>
<span class='text_page_counter'>(33)</span><div class='page_container' data-page=33>

Sevenths.

37

? T^ _^ '

T

56.

fttt

r

Count:1, 2, 3, 4.

T

T

rr

j

i

jj

rr

Count: 1, 2, 3, 4.

Count: 1, 2, 3, 4.

r

i

r

J

frrrirrrr

</div>
<span class='text_page_counter'>(34)</span><div class='page_container' data-page=34>

38

59.

Octaves.

T

?

T

.

m

J

Count:1, 2, 3, 4.

i

'

:x ^T 1 T ^.

60.

j

Count:1, 2, o, 4.

rrfi.

rrir-i

i

61.

Count:1, 2, 3, 4.

rrnrrrr

J

j

j

j

r

</div>
<span class='text_page_counter'>(35)</span><div class='page_container' data-page=35>

39

Progressive Exercises

on Time.

Observe

the Rests.

Common

or Four-four time.

T

T

</div>
<span class='text_page_counter'>(36)</span><div class='page_container' data-page=36>

40

Count: 1, 2, 3. _1,2,3.

Three-eight

time.

Count: _1, _2, 3. _1, _2, 3.

Six-four

time.

T

1, 2, 3.

1, 2, 3.

Count: _1, _2, _3,

4, 5, 6. _1, _2, _3, _4,

5, 6. _1, _2, _3,

4, ff, 6.

123

Nine- _{four time.}

Count: 1 _2, _3,

4, 5, 6, 7, 8, 9. _1, _2, _3,

4, 5, 6, 7,8,9.

456

1, 2, 3.

Nine-eight time.

Count: _1, _2, _3,

4, 5, 6, 7, 8, 9.

</div>
<span class='text_page_counter'>(37)</span><div class='page_container' data-page=37>

Observe

the Articulation.

Twelve-eight

time.

Count: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.

T

T

_{T^_}

T

_T

T

_T

_T

41

72.3

Six-eight time.

Count:1, 2, S, 4, 5, 6. 1, 2, 3, 4, 5, 6.

Count: 1, 2. 1,

P

2.

pi

P

i

r

p

r

_p

I

r/

Exercises

on

Dotted

Notes.

74.

i

K

4

4.

ft

i, 2, 3, 4.

Count: 1, 2, 3, 4.

</div>
<span class='text_page_counter'>(38)</span><div class='page_container' data-page=38>

Count: 1, 2, 3. 1, 2, 3. 1, 2, 3. 1,2,3. _1, 2, 3.

i, 2, 3.

79.

^uuni:

</div>
<span class='text_page_counter'>(39)</span><div class='page_container' data-page=39>

TK-P-The

Restonthe third beat.

43

82.^^

Count: f, 2, 3, 4. 1, 2, 3, 4.

r

_r

*

r

i

r

r

*

C

i

r

r

*

ri

r

r

*

The

Rest onthe fourth beat.

83.^^

Count: 1, 2, 3, 4. 1, 2, 3, 4.

</div>
<span class='text_page_counter'>(40)</span><div class='page_container' data-page=40>

44

86.3

2.

T

f

: _1, 2. 1, 2.

Count: 1, 2. 1, 2.

Count:1, 2, 3.

r

_p

=&

.- _/, ^, _5,

4

tf. /,

^

3, 4, 5, 6

Count: 1,

</div>
<span class='text_page_counter'>(41)</span><div class='page_container' data-page=41>

Twenty

Progressive Exercises.

For Saxophone.

The

Student should play all the _following- _{exercises slowly} at _first, until he is certain of_the

finger-ing. Repeating- each over

and

over again, he should quicken the tempo, so as to _acquire_facilityof
ra-pid execution,

and

never

proceed

to a

new

exercise until the one in

hand

has been mastered.

N91.

_PAUL

_de _VILLE.

91.

N9 2.

4

TT

</div>
<span class='text_page_counter'>(42)</span><div class='page_container' data-page=42>

44

-*

N9 3.

93.

WE

f=m

=*

N94.

N? 6.

96.3

</div>
<span class='text_page_counter'>(43)</span><div class='page_container' data-page=43>

47

N9 7.

97.

P

( (

n

m

v

-y

P

3

N2 8.

S

fe^

98.

^K

1=3

rf

3

w

*

-9-9-9

3=3

rt

</div>
<span class='text_page_counter'>(44)</span><div class='page_container' data-page=44>

48

N99.

Moderate.

T

99.

3

N9 10.

Allegretto

100.

</div>
<span class='text_page_counter'>(45)</span><div class='page_container' data-page=45>

-49

N9 11.

Allegretto.

N9 12.

Allegretto.

N9 14.

Allegretto.

</div>
<span class='text_page_counter'>(46)</span><div class='page_container' data-page=46>

50

MSIB.

Allegretto.

105

</div>
<span class='text_page_counter'>(47)</span><div class='page_container' data-page=47>

51

NQ18.

Allegretto.

T

N9 19.

Allegro.

T

</div>
<span class='text_page_counter'>(48)</span><div class='page_container' data-page=48>

Eighteen Exercises

in

articulation.

111.

NQ 2.

112.

or

r

r

N93.

F"^ r r

i

-=*qg

113.

N9 4.

114.

</div>
<span class='text_page_counter'>(49)</span><div class='page_container' data-page=49>

53

N9 7.

N9 9.

119.

NQ 10.

120.

rdt

^

^-^

N9 11.

121.

m P

NO 12.

_T

</div>
<span class='text_page_counter'>(50)</span><div class='page_container' data-page=50>

54

N9 13.

_T

r

nfTfTT

N? 14.

124.

^kO=S

N9 15

125.

N9

</div>
<span class='text_page_counter'>(51)</span><div class='page_container' data-page=51>

Preparatory Exercises on

the

High

Notes.

Thirds.

f

55

129.

B

-D-i

Fourths.

</div>
<span class='text_page_counter'>(52)</span><div class='page_container' data-page=52>

56

_Sevenths.

O

133.

</div>
<span class='text_page_counter'>(53)</span><div class='page_container' data-page=53>

Chromatic

Scale

of

the

_Saxophone.

57

Ordinary

System.

PAUL

de

VI

LIE.

Ascendingby sharps.

Descending by flats

System

with

C

Shake

Key

and

B

Flat with the

Two

Fore-fingers.

139

Evette

and

Schaeffer System.

o

o

o

o

Exercise

in

_Sharps

and

Flats

Ascending by sharps.

141.

Descending hy flats.

10f.3.S-847 Copyright,MCMVII, by Carl Fischer,

New

</div>
<span class='text_page_counter'>(54)</span><div class='page_container' data-page=54>

Major

and Minor

Scales

in

all

_Keys.

A

thorough

knowledge

of the scales in all _keys is

most

_important; the ability to

perform them

all

with equal facility is an absolute _{requisite to} a _really

_good

_performer.

Every

scale should therefore be studied in _{the following}

manner:

Commence

_by_playing it _slowly at

first; repeat it

_many

times

and

ateach _repetition increase the time _slightly. In _{the keys} with several

sharps, or flats,

more

especially in those _{the signatures} of

which

consist of four or

more

_accidentals,
the fingering of

some

intervals is _difficult, on account ofthe

mechanism

ofthe instrument.

These

awk-ward

intervals _{should be repeated} over

and

over _again until

an

easy

mastery

over

them

is secured.

No

pupil should rest satisfied as _long as he finds _any interval ofa scale a _{stumblingblock} to its

_easy

and _perfectly

smooth

execution.

Rapid

tonguing (staccato) is _very _difficult,

and

can only be acquired by patiently exercising the
tongue,

making

it a point to increase its flexibility by daily practice.

C

_major.

(All naturals.)

This _sign

\/

shows where

the half-tones occur.

by

Paul

de

Ville.

142.

A

minor.

(Relative of C_major.)

143.

F

_major.

(One flat.)

144.

D

minor.

(Relative of F_major.)

145.

B[>

_major.

(Twoflats.)

146.

G

minor.

(Relative of Bkmajor.)

147.

^S

</div>
<span class='text_page_counter'>(55)</span><div class='page_container' data-page=55>

El>

_major.

(Three flats.)

59

148.

C

minor.

(Relative ofEb major.)

149.

Ab

_major.

(Four flats.)

ISO.*

tez

P

F

minor.

(Relative ofA\>_major.)

151

Dt>

_major.

(Five flats.)

152.

Bb

minor.

(Relative ofD\> major.)

153.

G\>

_major.

(Six flats.)

,T

y^ i

is4.m

El>

minor.

(Relative ofG\> _major.)

155

</div>
<span class='text_page_counter'>(56)</span><div class='page_container' data-page=56>

60

C\> _major.

(Seven flats, every noteflat.)

156,

Ab

minor.

(Relative of C\>_major.)

157.7FmjI

*M"P.r

lit

G

_major.

(One sharp.)

158.

</div>
<span class='text_page_counter'>(57)</span><div class='page_container' data-page=57>

E

major.

(Four sharps.)

61

164.

165.

mnor.

(Relative of Emajor.)

166.

168.

169.

170.

B

major.

(Five sharps.)

mnor.

(Relative of

B

major.)

maor.

(Six sharps.)

mnor.

(Relative of F#major.)

C#

major.

(Seven sharps, all notessharp.)

A#

minor.

(Relative of _C#major.)

</div>
<span class='text_page_counter'>(58)</span><div class='page_container' data-page=58>

62

Major

and

Minor

Chords

in

the

_Keys

most

used.

C major. A

m

inor.

F_major. D minor.

B\> _major.

G minor.

At major. F minor.

G major. E minor.

D major. B minor.

</div>
<span class='text_page_counter'>(59)</span><div class='page_container' data-page=59>

Sixty Exercises

of

Mechanism.

63

The

exercises of

mechanism

have for their_{object the formation} of_{the fingering} _by _habituating

each

finger to act separately or simultaneously.

By

these exercises

_may

_{be acquired} that _equality of _fingering

and

_{that purity of} tone

which

are the
finest qualities of an Instrumentalist.

In _{the following exercises the student}

must

accentuate the

_{sound upon}

the first note of each
di-vision of the bar.

Each

bar or each sketch should be _{played eight or ten} times

and

as a finish _{play the} note after
the dotted double bar.

All the notes should be _slurred, _{ascending passages} _{played crescendo,} _{descending passages}

di-minuendo.

(See

exercises on _Shading, _{pages 29}

and

30).

breath after the first note inthe bar. '
2.

</div>
<span class='text_page_counter'>(60)</span><div class='page_container' data-page=60>

24. 25.

</div>
<span class='text_page_counter'>(61)</span><div class='page_container' data-page=61>

44. Ke_epthe Cff-key open

Keepthe Df-key open

43

.

Keepthe Gjf-key open

47

Keepthe Atf-key open.

KeeptheD#- keyopen.

</div>
<span class='text_page_counter'>(62)</span><div class='page_container' data-page=62>

52.

</div>
<span class='text_page_counter'>(63)</span><div class='page_container' data-page=63>

Fifty

Exercises

from low Bb

to

F

above

the

staff.

Saxophone

_ByA.MAYEUR.

Revised _by

Paul

de Ville.

"1VO* \

67

N9

3.

m

j.

jj

jj

N?4.

j

JU

_jj

J

_j

N95.

J

J

</div>
<span class='text_page_counter'>(64)</span><div class='page_container' data-page=64>

68

N96.

N97.

3*

N98.

r

jj

'kJ

w

"

'jj^j

!

u

J^

J

y

y^jjjl

f^

N99.

</div>
<span class='text_page_counter'>(65)</span><div class='page_container' data-page=65>

69

N911.

Keep Et-key open.

JJjlJ

J J J

JJ

J

JjJJJJ

J J

J*

J J

N916.

</div>
<span class='text_page_counter'>(66)</span><div class='page_container' data-page=66>

70

N917.

</div>
<span class='text_page_counter'>(67)</span><div class='page_container' data-page=67>

N?SO.

Fjfplate

N9

5, keep the _{key G#}

N9

V

open. (Evette andSchaefferSystem.)

71

</div>
<span class='text_page_counter'>(68)</span><div class='page_container' data-page=68>

N923.

</div>
<span class='text_page_counter'>(69)</span><div class='page_container' data-page=69>

N9S6.

Aft orBb 3r_dfingering, keepthe plateFflorG!>

N9

5 closed.

73

</div>
<span class='text_page_counter'>(70)</span><div class='page_container' data-page=70>

74

:

J

*

_{J-Fah-fr^Vr-' J}

_J

+~~^

f

^

'

^

'

^V

^^^^^

Bt>

4^

_lingering, _keep_{the Al?-key} _open

N9S8.

d

</div>
<span class='text_page_counter'>(71)</span><div class='page_container' data-page=71>

75

Keepthe_At-key _open.

1st_fingering.

Bb 1st_fingering.

A| 2 n.dfingering.

6

^

^^

6

-6-gbis

-e

N930.

New

_Eb, (Evette and _{Schaeffer System.)} To _giveE!>takethe plate 5b

ls.

f

</div>
<span class='text_page_counter'>(72)</span><div class='page_container' data-page=72>

76

Keep A\>_open.

i

3

Keepthe D\>_key_open.

Keepthe A!>_{key open}

4^

_fingering_{and keep}the D!>_open.

N931.

!P)
z: zz

rrmrrr

fingering.

7m

m

p^l

I

i^|>

U^

-AltS^d_fingering.

'* '

FrF

</div>
<span class='text_page_counter'>(73)</span><div class='page_container' data-page=73>

T7

Att3r_d_fingeringand keepthe Gffopen.

A* 3r.d

fingering and keepthe Ftf

plate closed.

N9

22.

</div>
<span class='text_page_counter'>(74)</span><div class='page_container' data-page=74>

78

N934.

Keep E\>and BbSn-dor4th

fingering.

>0\ 222:

r

r

r

i

r

wfff

-d_fingering.

6

4th_fingering.

Keep At>_{and Eb always} _open.

</div>
<span class='text_page_counter'>(75)</span><div class='page_container' data-page=75>

At3r-d_fingeringand keep _Enclosed

N935.

Keepthe D$ _key _open.

</div>
<span class='text_page_counter'>(76)</span><div class='page_container' data-page=76>

80

Keep Bl> 2nd_fingering.

N9

37.

G\> key XII

A# _fingeringand _keepthe F$close

T

</div>
<span class='text_page_counter'>(77)</span><div class='page_container' data-page=77>

81

N9

38.

N9

39.

Keepthe El>_key_open.

Keep Al>_open.

</div>
<span class='text_page_counter'>(78)</span><div class='page_container' data-page=78>

N940.

ffrT

i^rfTr

Keep G$ open.

rrrrr

Keep Gjt open.

f

p

if

r

ir

i

6

_-j+-

6

-1+-

6

91

</div>
<span class='text_page_counter'>(79)</span><div class='page_container' data-page=79>

83

N941.

BbI8*or 4th _fingering.

A| 2nd fingering.

"rrrfrrrfifrfrfrr

Bl> 2n.d _fingering.

</div>
<span class='text_page_counter'>(80)</span><div class='page_container' data-page=80>

84

Bk3r-d_fingering,_keepGtand Eb_open.

N9

43.

B\> _{4th fingering. (Evette}and_Schaeffer

4th fingeringB\>.

Bl>4th_fingering, _{keep AP}o

</div>
<span class='text_page_counter'>(81)</span><div class='page_container' data-page=81>

N9

44.

85

.rf.rf.r-.ffff.ffrf.f-.rf

CkeyVIB.

N945.

</div>
<span class='text_page_counter'>(82)</span><div class='page_container' data-page=82>

86

Keep G#open.

Forthe Sixteenth-notes keepthe Cplate closedand takethePi]withthe key IX.

m

Erff.frfr.f

</div>
<span class='text_page_counter'>(83)</span><div class='page_container' data-page=83>

Fff.fTff.f

fw.pfff.fmfpw.f

Keep B!>2n-d_fingering.

Vft \>

f^i ^-i Vft

>\

Keep B\>2n-d_fingering.

r.-T

_~^

_Ul

o 5 '

Q

'ifii

always 2n-d_fingering

</div>
<span class='text_page_counter'>(84)</span><div class='page_container' data-page=84>

88

N9

48.

tee

tt

Ef,fFFf,fFPf,E

itfrfrttfff

,f

.

,rf

rf

,f

f

r

f.r

ffffrFrf.p

_{irr'f'ffFffirr'fTFffrrr}

</div>
<span class='text_page_counter'>(85)</span><div class='page_container' data-page=85>

89

N949.

ffff

.'

</div>
<span class='text_page_counter'>(86)</span><div class='page_container' data-page=86>

90

Exercises

for

the

_new

_key

_of

_E^

_and

_F

_above

the

staff.

Evette and Schaeffer _System.

N950.

</div>
<span class='text_page_counter'>(87)</span><div class='page_container' data-page=87>

91

rffifffr

</div>
<span class='text_page_counter'>(88)</span><div class='page_container' data-page=88>

Twenty-

one Exercises

on Detached

Notes,

in different

_Keys.

K<

</div>
<span class='text_page_counter'>(89)</span><div class='page_container' data-page=89>

93

Key

of

Et.

5.

Key

of

Ak

6.

J

T

l

Key

of

C

7.

Key

of F.

I.

8.

fcd

</div>
<span class='text_page_counter'>(90)</span><div class='page_container' data-page=90>

94

Key

of

Bk

fr (

Key

of

Ak

11.

</div>
<span class='text_page_counter'>(91)</span><div class='page_container' data-page=91>

95

Key

of

G.

</div>
<span class='text_page_counter'>(92)</span><div class='page_container' data-page=92>

96

Key

of

D.

16.

p

Key

of

A.

Keep

G

sharp key open (Evett'eand Schaeffer System.)

</div>
<span class='text_page_counter'>(93)</span><div class='page_container' data-page=93>

97

Key

of

B.

19.

=*

I.

Key

of

</div>
<span class='text_page_counter'>(94)</span><div class='page_container' data-page=94>

98

Twenty-seven

Exercises

for

_gaining

_execution

in

the

_different

Keys.

C

_major.

J.A.KAPPEY.

Edited by

PAUL

de _VILLE.

10638-347

</div>
<span class='text_page_counter'>(95)</span><div class='page_container' data-page=95>

99

A

minor.

G

minor.

</div>
<span class='text_page_counter'>(96)</span><div class='page_container' data-page=96>

100

D

_major.

8.3

f-m-*

B

minor.

9.

Fjf

minor.

</div>
<span class='text_page_counter'>(97)</span><div class='page_container' data-page=97>

101

Ek

_major.

r 1 1*

C

minor.

ffrrrrrr

1-

^S

5

i

</div>
<span class='text_page_counter'>(98)</span><div class='page_container' data-page=98>

102

C#

minor.

-A*

</div>
<span class='text_page_counter'>(99)</span><div class='page_container' data-page=99>

103

major.

Allegretto.

G#

minor.

19.

m

j)J

J

J

1

K

))

iE

F#

major.

20.3

</div>
<span class='text_page_counter'>(100)</span><div class='page_container' data-page=100>

104

Dl>

_major.

</div>
<span class='text_page_counter'>(101)</span><div class='page_container' data-page=101>

105

Bb

minor.

X

\\>i \>.

&

23.

Gl>

_major.

Andantino.

Jr J'i 1?.

Mr

r

El?

minor.

^

J

f

IIP "

^^

J

t;

</div>
<span class='text_page_counter'>(102)</span><div class='page_container' data-page=102>

106

Allegretto.

rffffffn

</div>
<span class='text_page_counter'>(103)</span><div class='page_container' data-page=103></div>
<span class='text_page_counter'>(104)</span><div class='page_container' data-page=104>

108

Three

Exercises

on

Staccato.

Practise at first _slowly, then quicken the time till _{they can be played} Allegro.

Allegretto

Allegretto.

</div>
<span class='text_page_counter'>(105)</span><div class='page_container' data-page=105>

109

Allegretto.

P

y

:f

-r 3 . 3

</div>
<span class='text_page_counter'>(106)</span><div class='page_container' data-page=106>

110

Grace-notes and Embellishments.

These

are of considerable variety,

and

consist of simple grace-notes, (appoggiatura),

double

grace-notes, (double appoggiaturas); the turn, (Gruppetto) indicated by the sign ess or 3

and

con-sisting of three or four notes" of a fixed order,

and gruppettos

of

more

than four notes.

With

referance to the _longer

ornamental

phrases, or Gruppettos, it is

_necessary

to state that the
the

manner

of _writing

them

_{has gradually}

undergone

great alteration.

_Formerly

the

_simple

Melody was

written in full _notes,

and

all the

embellishments

in half-sized ones,(called _by the

general

name

of:

_grace

notes); but in our time the

composers

prefer to write embellishments

in full _notes, thus

_{making them}

an _integral part of the _Melody.

A

further

ornament

is the short, or

passing

Shake, (Mordente,) indicated: ^w,

and

the full

Shake, or Trill, indicated thus: tr, an abbreviation of the Italian

word

"TrilloV

Lastly there is the Cadenza,

an

elaborate

ornamental

phrase,

mostly

performed

as a

_grand

final climax to _{bravura pieces.} In ancient

music

the

Cadenza was

left to the inventive



gen-ius of the _singer or instrumental _performer,

_{and merely}

indicated thus:

^

_fv ; but at

pre-sent

_composers

_prefer to write the

Cadenzas

in full. Cadenza.

As

a rule

ornaments

should not

be

_{added by}

a

_performer

_except

where

_they are

indicat-ed

_by

the

_Composer.

Some

_ordinary

_performers

are

under

the delusion that it

"shows

off"

a _player if he

can

_{"beautify" a} _piece with

_{grace-notes and}

_shakes,

and

_trembling _breath, and

other

means.

This

is offensive to

_good

musical _taste,

and

amounts

to

mere

_vulgarity.

_

"But

when

embellishments

are introduced at the _right _place,

and

_performed

_by

an "artist',' their

style of execution furnishes a criterion for the estimate of the artist's

_{schooling and}

deli-cacy

of feeling.

Examples.

Grace-note,

or

_{Appoggiatura.}

The

most

_frequent _{"Appoggiatura','} _(literally

_"jammed

_note}') is written thus
lique stroke

through stem and

hook.

, with an

ob-This

is _invariably _{played very} _quickly.

Allegretto.

Example:

</div>
<span class='text_page_counter'>(107)</span><div class='page_container' data-page=107>

Ill

But there are cases,

more

especially in _{ancient music,}

where

the

_{grace-note has}

no

stroke
through the stem.

These

are to _{be played} as if _they

were

written in full notes, the time value
of

which

is to be taken

from

the note to

which

it is slurred.

_{Per example,}

if the

_grace-notes

in the

preceding

exercise

had

no

strokes

_through

the

stems

*?

Written:

Played:

Written:

Played:

*)lt

would

be played thus:

J)

F

A

Appoggiaturas

of

various

durations.

</div>
<span class='text_page_counter'>(108)</span><div class='page_container' data-page=108>

112

The

_{"Double Appoggiatura"}

or

Double

Grace-note.

Is _always

_performed

_rapidly,

and

its value is

deducted from

the

_preceding

4

note, 'so that the
following- note falls exactly

upon

the. time-beat.

Exercises.

Written. _

m

Allegretto

Written.

Allegretto.

Played.

-^

Moderate.

Written.

x

^

^

4

Moderate

Played.

</div>
<span class='text_page_counter'>(109)</span><div class='page_container' data-page=109>

113

Exercise.

Andantino.

fc

The

"Turn','

_(Gruppetto).

May

be of three, four, or even five notes,

upwards

or

down,

written in full or

_by

the _signs oc

(upwards) or 2 (down).

_Any

accidental over or

under

the _sign, ^ e jt fo, indicates thatthe

high-est or lowest note of the turn should be either _$ _ortj, as indicated. Its time-value is

_always

taken

from

the

_preceding

note.
Written.

Written

10638-241

</div>
<span class='text_page_counter'>(110)</span><div class='page_container' data-page=110>

114

Andantino.

When

the Turn is between similar notes,it _always consists ofthree notes.

</div>
<span class='text_page_counter'>(111)</span><div class='page_container' data-page=111>

The

Shake.

(Trill.)

115

This is indicated _by the sign tr, anabbreviation of the Italian word: Trillo, (trill,)

and

consists of a

rapid alternation of the note over

which

the sign tr is _placed,withthe next note above.

The

shake

may

consist ofafull_tone, or a _semitone,

_according

to the

_key

_{of the piece,} and _the

posi-tion ofthe note in the scale ofthe _key.

Shakes

presentlittle trouble if_{they are} executedwiththe first

or

second

finger; but

much

greater difficulty is _experienced if_{they are} to be_{done by} the _third,

andmore

sowiththe fourth or little _finger. This is due to the anatomical construction of the _hand; the _{ability to}
execute a

_good

shake with the latter

two

_fingers can _only be _acquired _{by presevering} _exercise,and_great

trouble hasto be takento _equalise _{the rapid'ty of}all_fingers; a few shakes have even to _{be performed by}

the thumb.

_Every

shake must_{be practised} at first slowly, andthe rapidity of the finger should, inthe

dai-ly exercises be increasedgradually, untilthe required speedis attained.

The

close or end of a shake

should consist of a turn.

Table

of

Shakes.

tr

PAUL

de

VILLE.

tr

Keep the

D

_$ opened. Keep the E \> opened andmove

together the plates Nos. 5 and6.

99

tr tr

Keep the

F

t| and move the keyXIII

10639-103

</div>
<span class='text_page_counter'>(112)</span><div class='page_container' data-page=112>

116

Keepthe

G

jj opened and move

the plate of

F

_$

Two

_ways to shake

A

\> with

B

\>.

ls-t_keep _the

A

\ opened andthe lefthand plates closed
and move the _key _VI.

2^take the

new B

\> (Evette andSchaeffer_{System) keep}the

A

\>_{opened and}move

together the _plates_NO₂ _and ₃ _of

the left hand.

Keep the plate of

B

and move

the plate ofF fa Keep

the _{plate of} C _{closed, the}_{key VI}
being opened and movetheplate N? 1
left hand.

The C withthe _{key VI}b_.is

10639-103

</div>
<span class='text_page_counter'>(113)</span><div class='page_container' data-page=113>

117

... tr
;'lJ> *

tr

Keepthe plate of C closedand move the_keyIX.

tr

-o-All_{the plates}_{opened and} move the _keyN9VIII. together the _keys VIIIand IX.

Keepthe _key of

D

and move the _key of Kb.

You

_{can play} a succession or chain of _{shakes up} or

down

_{without ending,} _keeping the endfor the last

shake of the succession or chain.

tr^^

~~/T" tr

&

Example.

You

_{can play} a succession or chain of shakes _up, in _{adding an end} at each shake.

tr

&

^tr>_ tr ^tr

a

tr

10639-103

Example.

</div>
<span class='text_page_counter'>(114)</span><div class='page_container' data-page=114>

118

The

_Mordent,

or

_Passing

Shake.

A

brief _{shake, indicated} thus -w, consists ofafew rapid alternations of the notewiththe onenext

a-bove it, having- neither beginning nor end.

They

occur mostly in rapid

movements.

Allegro

/w
Written.
1.
Played.

Allegro.

\\

Written.

2.

Played.

Examples,

Presto.

'W
Written.
3.

In_very_rapid

time itwould

be _played Thus"

Exercises

on Shakes.

tr tr tr tr tr tr tr tr

)f T^ ^~\

r^

a r^ O, RT r^ fr

., , tr

r

tr fr tr tr

^

. fr

</div>
<span class='text_page_counter'>(115)</span><div class='page_container' data-page=115>

119

3.

J

II.

Rf

\>

tr

Moderate.

-4.

fr-Ftrr^

5 _&S

Allegretto.

5.

</div>
<span class='text_page_counter'>(116)</span><div class='page_container' data-page=116>

180

6.

tr

fr

.ir.tr

tr

m

tr

M

tr

r

r

n.r

tr _tr

tr tr tr

i

7.

I

</div>
<span class='text_page_counter'>(117)</span><div class='page_container' data-page=117>

Fifteen

Cadenzas.

121

</div>
<span class='text_page_counter'>(118)</span><div class='page_container' data-page=118>

122

Fantaisie

on

Norma.

Recit.

7.

lively

8.

11.

</div>
<span class='text_page_counter'>(119)</span><div class='page_container' data-page=119>

123

Trill

F

sharp

with

G

sharp.

^^

/CN

ii-t

Introduction of the

_Adagio

of the _pathetic sonata of Beethoven.

</div>
<span class='text_page_counter'>(120)</span><div class='page_container' data-page=120>

124

</div>
<span class='text_page_counter'>(121)</span><div class='page_container' data-page=121>

135

Ten

Duets

For

Two

E\>

or

Two

Bb Saxophones.

A.MAYEUR.

Revised, byPaul de Ville.

1.

)

^T3

*

10639-103

</div>
<span class='text_page_counter'>(122)</span><div class='page_container' data-page=122>

126

Allegro

moderate.

*i

</div>
<span class='text_page_counter'>(123)</span><div class='page_container' data-page=123>

127

</div>
<span class='text_page_counter'>(124)</span><div class='page_container' data-page=124>

128

Andante

</div>
<span class='text_page_counter'>(125)</span><div class='page_container' data-page=125>

Allegro

moderate.

m

n

v

_p

v

_p

v^

120

^=^

^

5.

%

1 /

z3

P

1:

m

</div>
<span class='text_page_counter'>(126)</span><div class='page_container' data-page=126>

130

PS

^

1

X

^

i

g^i

5

J

J

J

J

^^

2

a

H3

3

</div>
<span class='text_page_counter'>(127)</span><div class='page_container' data-page=127>

131

tr

^fef

_$

m

P

</div>
<span class='text_page_counter'>(128)</span><div class='page_container' data-page=128>

132

Andante

moderate.

</div>
<span class='text_page_counter'>(129)</span><div class='page_container' data-page=129>

133

rt

^

j>.

r

j>

im

_^

p

10639-103

</div>
<span class='text_page_counter'>(130)</span><div class='page_container' data-page=130>

134

i

p

i

</div>
<span class='text_page_counter'>(131)</span><div class='page_container' data-page=131>

Andante.

135

^p

7.

m

00

i

_sa

</div>
<span class='text_page_counter'>(132)</span><div class='page_container' data-page=132>

136

V

7

_|J'

7

J' 7

</div>
<span class='text_page_counter'>(133)</span><div class='page_container' data-page=133>

137

r

</div>
<span class='text_page_counter'>(134)</span><div class='page_container' data-page=134>

138

Allegretto.

.1

</div>
<span class='text_page_counter'>(135)</span><div class='page_container' data-page=135>

139

P

</div>
<span class='text_page_counter'>(136)</span><div class='page_container' data-page=136>

140

Allegro.

9.

</div>
<span class='text_page_counter'>(137)</span><div class='page_container' data-page=137>

141

</div>
<span class='text_page_counter'>(138)</span><div class='page_container' data-page=138>

143

Allegretto.

(KiiT-Trc

</div>
<span class='text_page_counter'>(139)</span><div class='page_container' data-page=139>

143

</div>
<span class='text_page_counter'>(140)</span><div class='page_container' data-page=140>

144

Six

Duets

for

Two

Eb

or

Two

Bb

_Saxophones.

NQ

1.

Moderate.

H.

KLOSE.

Revised byPaid de Ville.

a

,5>

PI

M^

W

P

</div>
<span class='text_page_counter'>(141)</span><div class='page_container' data-page=141>

145

</div>
<span class='text_page_counter'>(142)</span><div class='page_container' data-page=142>

146

NO

2.

Allegro

non

troppo

</div>
<span class='text_page_counter'>(143)</span><div class='page_container' data-page=143>

147

s=^

</div>
<span class='text_page_counter'>(144)</span><div class='page_container' data-page=144>

148

NQ

3.

</div>
<span class='text_page_counter'>(145)</span><div class='page_container' data-page=145>

149

NQ

4.

Moderate.

</div>
<span class='text_page_counter'>(146)</span><div class='page_container' data-page=146>

150

</div>
<span class='text_page_counter'>(147)</span><div class='page_container' data-page=147>

151

beJ

.

P

i

w

*

1

</div>
<span class='text_page_counter'>(148)</span><div class='page_container' data-page=148>

153

legeremente

</div>
<span class='text_page_counter'>(149)</span><div class='page_container' data-page=149>

153

.

.

_J

J

_.

</div>
<span class='text_page_counter'>(150)</span><div class='page_container' data-page=150>

154

NQ5.

Andante.

</div>
<span class='text_page_counter'>(151)</span><div class='page_container' data-page=151>

155

</div>
<span class='text_page_counter'>(152)</span><div class='page_container' data-page=152>

156

</div>
<span class='text_page_counter'>(153)</span><div class='page_container' data-page=153>

157

</div>
<span class='text_page_counter'>(154)</span><div class='page_container' data-page=154>

158

Exercises

_{on Eighth Notes and}

Sixteenth Notes.

Moderate.

Moderate.

</div>
<span class='text_page_counter'>(155)</span><div class='page_container' data-page=155>

159

Andante

.

Moderate

</div>
<span class='text_page_counter'>(156)</span><div class='page_container' data-page=156>

160

Moderate

.

Exercises

on

Dotted Eighth

Notes and

Sixteenth Notes.

</div>
<span class='text_page_counter'>(157)</span><div class='page_container' data-page=157>

161

Exercise with

Sixteenth

-note

Rests.

Exercise on Dotted

Sixteenth

-notes

and Thirty

-second-notes.

</div>
<span class='text_page_counter'>(158)</span><div class='page_container' data-page=158>

162

Exercise

_{with Thirty- second-note}

Rests.

Exercises

on

_Triplets,

</div>
<span class='text_page_counter'>(159)</span><div class='page_container' data-page=159>

163

m

pTFrrT

P

</div>
<span class='text_page_counter'>(160)</span><div class='page_container' data-page=160>

164

</div>
<span class='text_page_counter'>(161)</span><div class='page_container' data-page=161>

165

Forty

Exercises

on

the

Slurred

and

Detached

Notes.

for

_Saxophone

_A.MAYEUR.

Two

slurred and two detached. Edited _by Paul de Ville.

^JIMJtfJMJ,

10639-103

</div>
<span class='text_page_counter'>(162)</span><div class='page_container' data-page=162>

166

Two

detached and

two

slurred.

</div>
<span class='text_page_counter'>(163)</span><div class='page_container' data-page=163>

167

Three

slurred andone detached

l

</div>
<span class='text_page_counter'>(164)</span><div class='page_container' data-page=164>

168

Slurred in

_groups

of two. _{(Play evenly} the

two

notes.)

</div>
<span class='text_page_counter'>(165)</span><div class='page_container' data-page=165>

169

Slurred in _groups of four.

</div>
<span class='text_page_counter'>(166)</span><div class='page_container' data-page=166>

170

One

detached and three slurred.

(The first note should be well _{marked, and} _separated.)

One

detached, two slurred and one detached.

10.

tt

Reversed slur.

(Accent thefirst note of the _slur.)

</div>
<span class='text_page_counter'>(167)</span><div class='page_container' data-page=167>

Slurred in_groups of two.

</div>
<span class='text_page_counter'>(168)</span><div class='page_container' data-page=168>

172

Three

slurred and one detached.

15

One

detached andthree slurred.

(The first note shouldbewell marked and separated.)

</div>
<span class='text_page_counter'>(169)</span><div class='page_container' data-page=169>

173

\

Slurred in

_groups

of four

Three

slurred and one detached

Two

slurred

and two

detached

^TI * iv

</div>
<span class='text_page_counter'>(170)</span><div class='page_container' data-page=170>

174

Three

slurred

and

three detached.

22

*. .-'i

^~-

e . . ^-^ff . e

Slurred in _groups of two.

One

detached

and

three slurred

</div>
<span class='text_page_counter'>(171)</span><div class='page_container' data-page=171>

175

Two

detached

and two

slurred.

Four

slurred

and tw

^

-^

One

detached, th_ree _slurred^and

two

_detached.

^ff^~ 6' fi o^

Slurred in

_groups

of six

</div>
<span class='text_page_counter'>(172)</span><div class='page_container' data-page=172>

176

Slurredthree

and

detachedthree.

Slurred

two

and detached two.

Slurred three and detached five.

</div>
<span class='text_page_counter'>(173)</span><div class='page_container' data-page=173>

Detached

one

and

Slurred three. 177

Slurred

two and

detached six

Slurred two

and

detached

two

</div>
<span class='text_page_counter'>(174)</span><div class='page_container' data-page=174>

178

Slurred in_groups oftwelve

Slurred

two

and

detached

two.

Slurred in _groups^offour.

</div>
<span class='text_page_counter'>(175)</span><div class='page_container' data-page=175>

Seventeen

Exercises

on

_Syncopation.

179

E^

p

p^p

i

i

</div>
<span class='text_page_counter'>(176)</span><div class='page_container' data-page=176>

180

r

6.aa

is:

fElpffffi

rrrrpiprrrp

i

JJ

^

I

? fl

ppr

_pipr

PPF

pipr

pp

r

J'j

JJT

J

,

r

P

_r

_p

P

</div>
<span class='text_page_counter'>(177)</span><div class='page_container' data-page=177>

181

</div>
<span class='text_page_counter'>(178)</span><div class='page_container' data-page=178>

182

it;

B

5

*

p

*

i*

ppr

r~'

*

s

p

j

pPr

p

-plpTPj-

* II

Syncopation

between

two

Eights.

The

_{note preceding} the _syncopation

must

be _separated,

and

the _quarter well marked.

pr

Three

_{Syncopated Notes}

_preceding

a Half-note.

</div>
<span class='text_page_counter'>(179)</span><div class='page_container' data-page=179>

Syncopated

Slurs.

The

accent

must

not be

made

by

the _{throat, but}_by _{the action of the finger}

falling-like a

hammer

onthehole.

The first _eight measures which are slurred should be played with one breath until the rest. But should

the movement be two slow, breath can be taken after the quarter-note preceding the _syncopation.

r

n

Moderate.

15

Allegretto.

16

</div>
<span class='text_page_counter'>(180)</span><div class='page_container' data-page=180>

184

Twenty

Operatic

Melodies

for

the

_study

of

_phrasing

and

artistic

_delivery.

Compiled

by

PAUL

de

VILLE.

It is difficult to give verbal instructions

how

to

perform

in an artistic style.

The

great point
consists in delivering a

melody

as if it

were

rendered

_by

a great Singer.

The

student should
uti-lize every opportunity to hear

good

vocal artists

and model

his delivery of "Cantabile" pieces

after their example.

Of

course there are

many

artistjc details for an instrumentalist

which

lie

outside the vocal art, and ought to be imitated

from

the

performances

of the best instrumental

performers.

Especial care should be taken with the articulation; the tongue

must

touch the reed in staccato
passages at the

_very

_tip, _crisp and clear. If the articulation is

_produced

_by the _{tongue covering}

too

much

of the reed, the tone will be forced and vulgar.

The dynamic

shadings shouldbe

clear-ly brought out, without resorting to extremes; vibrating the breath ought to be strictly avoided,

and the ''roulades" (long vocal passages)

must

be fingered with the greatest precision, sothat no

break occurs.

Norma.

N91

</div>
<span class='text_page_counter'>(181)</span><div class='page_container' data-page=181>

La

Traviata.

Adagio.

185

VERDI.

N9

3.

dolce

dolce

i^-

P-Allegro

moderate.

Martha.

_FLOTOW.

N94.

^^

LJ

i

P

m

</div>
<span class='text_page_counter'>(182)</span><div class='page_container' data-page=182>

186

IlTrovatore

Andante.

VERDI.

cresc._ .

j?

Ah!

Che

La

Morte.

La

Sonnambula.

Allegro moderate.

BELLINI.

</div>
<span class='text_page_counter'>(183)</span><div class='page_container' data-page=183>

Martha.

Larghetto.

187

FLOTOW.

^5

N98

P

i

_P

r

p

i

r

P

i

c_r

r

Allegro.

Luisa

Miller.

VERDI.

,

_^.

</div>
<span class='text_page_counter'>(184)</span><div class='page_container' data-page=184>

188

Largo.

Giulio Cesare.

N911.

3

HANDEL.

dolce

Efe

J1J.

r

Fine.

^

Moderate.

Lucia

di

Lammermoor.

r

r

r

n

_ir

D.S.al Fine.

DONIZETTI.

P--r

r

r

Mir

r

r

m

_w=

string. rail.

</div>
<span class='text_page_counter'>(185)</span><div class='page_container' data-page=185>

N913.

E

Ebreo.

Tempo

di

Polacca.

ad

lib.

Der

Forster.

BALLADE.

Larghetto

RECITATIV.

Andante.

Tadenza

ad

lib.

Belisario.

ROSSINI.

a tempo

10038-247

</div>
<span class='text_page_counter'>(186)</span><div class='page_container' data-page=186>

190

Cadenza

ad

lib

</div>
<span class='text_page_counter'>(187)</span><div class='page_container' data-page=187>

Allero.

(J---gr

60)

La

Gazza

Ladra.

191

ROSSINI.

^

EJ^rfrr

'iLfr^rLfn^

</div>
<span class='text_page_counter'>(188)</span><div class='page_container' data-page=188>

192

La

Sonnambula.

Moderate.

BELLINI.

i

N9

17.

dolce

</div>
<span class='text_page_counter'>(189)</span><div class='page_container' data-page=189>

Ernani.

Allegro con

brio.

193

VERDI.

^fe

N918.^^^^

mf

rit.con

_grazia

</div>
<span class='text_page_counter'>(190)</span><div class='page_container' data-page=190>

194

The

_Huguenots.

Andanto.

pcantabile

congrazia

r

MEYERBEER

i " *

J23

a

>>

^

>'^>

m

/r\ /r\

nrp"

>^~.

>

/^'^

A.

Cadenza ad

lib.

</div>
<span class='text_page_counter'>(191)</span><div class='page_container' data-page=191>

Air

from

Masaniello

Andante.

N920.5

Allegrtto.

r

<

p~

rr

*=i

Cadenza

ad

lib.

</div>
<span class='text_page_counter'>(192)</span><div class='page_container' data-page=192>

196

f

Cadenza

ad

lib.

Allegro.

lento.

</div>
<span class='text_page_counter'>(193)</span><div class='page_container' data-page=193>

Exercises

for

the

new

_fingering

i*

of the

_improved

Bl>, Bt^

and

Ctt

Keys.

A#(new

_fingering)

_produced

withthe use of lever C,_usually

_employed

f\ for the fingering of Bb.

Bb,

(new

fingering)

produced

with the use of lever D._usually

_employed

for the _fingering of A#.

f

(new

_fingering.)

_produced

withthe use _{of lever E,}_usually

_employed

for the _fingering of _Bl}

Bb,

(new

fingering.) lever D.

Dl>

(new

_{fingering.) lever E.}

Bb (new

_{fingering.) lever} C.

Ctf

and

A|t

(new

_fingering.) levers

E

and

C.

Bb,

(new

fingering.) lever D.

Bi]

and

C|

(new

fingering.) levers

Dand

E.

Ait

(new

_{fingering.) lever C.}

^^ r*

</div>
<span class='text_page_counter'>(194)</span><div class='page_container' data-page=194>

198

Alt

and

C#

(new

fingering.) levers

C

and

E.

(new

fingering.) lever D.

DK(new

fingering.) lever E.

(new fingering.) lever E.

Cl (newfingering.) lever E. attention

must

be directed

towards

the

open

Git (JSvette

and

_Schaeffer

^System.)

-i

6

^

^^

6

^

x-^ o - _o

6

</div>
<span class='text_page_counter'>(195)</span><div class='page_container' data-page=195>

199

Dl>

(new

_fingering.) lever

E.the

E\>

with

the

4^

_finger

and

attention to the

_{open Ab}

(Evette

and

Schaeffer System.)

* C#

(new

fingering.) lever E.

m

\ \ \*

Bh (newfingering.) lever D.

3^

_*r

_n^^^r^;

^s^s

and C| (new

fingering.) levers

D

and

E.

yj'JM'J'J'J'

Bl)

(new

fingering.) lever D.

DUnew

fingering.) lever E.

Bb(new

fingering.) lever C.

I

1>J''

J

J/

J

U

B\>

medium marked

with the

4

th finger, attention to the

open

Al> (Svette

and

Schaeffer System)

The

low

Bl

(new

fingering.)

El

s .> t^* [>

</div>
<span class='text_page_counter'>(196)</span><div class='page_container' data-page=196>

200

A# and

Ctl

(new

fingering) levers

C

and

E.

C#, Bl|,At,

(new

fingering.) levers

E,DandC.

Attention to the

_open

Gtf.

C$

(new

_{fingering) lever}

E

</div>
<span class='text_page_counter'>(197)</span><div class='page_container' data-page=197>

Progressive

Major and Minor

Scales,

and

Exercises.

For

_Saxophone.

C major Scale.

N91.

201

PAUL

de

VILLE

10639-103

</div>
<span class='text_page_counter'>(198)</span><div class='page_container' data-page=198>

202

B!> _major Scale.

N97.

N98

</div>
<span class='text_page_counter'>(199)</span><div class='page_container' data-page=199>

203

major Scale.

N913.

fiK b I/

6

D'

major Scale.

e

</div>
<span class='text_page_counter'>(200)</span><div class='page_container' data-page=200>

804

G >

major Scale.

NO

19.

Exercise.

NO 21

G\> _major Scale.

N9

22=

Exercise.

NQ24:

</div>

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