CLARINETE - MÉTODO - Rubank - Nível Intermediário

RUBANK EDUCATIONAL LIBRARY No. 52

Inicie os seus estudos sempre

com o acompanhamento de um

professor de Clarinete.

MÉTODO RUBANK

INTERMEDIÁRIO

CLARINETE

“A música exalta o espírito humano, é criativa, auto-expressiva e permite

a expressão de nossos pensamentos e sentimentos mais nobres.”

METODO DE CLARINETE

RUBANK

---/

..../

RUBANK EDUCATIONAL LIBRARY No. 52

I

CLARINET

J. E. SKORNICKA and ROBERT MILLER

A FOLLOW UP COURSE FOR INDIVIDUAL

OR LlKE-INSTRUMENT ClASS INSTRUCTION

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Materiais didáticos para estudantes de música,

Materiais didáticos para estudantes de música,

Materiais didáticos para estudantes de música,

Materiais didáticos para estudantes de música, músicos,

músicos,

músicos,

músicos, organistas e regentes.

organistas e regentes.

organistas e regentes.

organistas e regentes.

Explore o site para baixar estudos musicais. Colabore ou solicite o que você precisa no e-mail: faleconosco@escolinhamusical.com.br ou siga-nos no Twitter: @artigosmusicais

DIVULGUE ESTE PROJETO – ASSINE SEU E-MAIL E RECEBA INFORMATIVOS – CONTEÚDO NÃO-COMERCIAL:

http://www.escolinhamusical.com.br

Instrumentos de sopro

Naipe: Madeiras

Instrumentos de sopro do naipe “madeiras”, embora feitos de madeira ou metal como o saxofone, algumas vezes têm plástico ou metais na composição da estrutura e de seu corpo.

Seu som é produzido pela vibração do ar em um tubo oco. O ar vibra, soprando-se no bocal, nos casos da flauta e a flauta pequena ou flautim – ou através de uma palheta simples – no clarinete e no saxofone, ou de uma palheta dupla, no caso do oboé, oboé d’amore,

corne inglês e do fagote. A altura do som (a afinação) desses instrumentos pode mudar abrindo-se ou fechando-se os orifícios feitos no corpo do instrumento.

Fingering Chart

(Simplified)

by

ROBERT MILLER

The purpose of thi8 chart is to acquaint the pupil with the correct fingerings in particular passage: and keys, and its simplicity is conducive to quick comprehension. This chart is built on the assumption tha

'--'

the pupil already knows the standard fingerings for practically alI the tones on the clarinet, and needs only ~

guide as to which one of several he should use in some particular passage or key. This chart makes it eas~

to mark the fingering on the music without drawing a picture of the instrument, and if the pupil will refe: to this chart at every opportunity, he will find that it is very easy to memorize in a very short time.

'--" As indicated on the chart, the upper half of the clarinet is played with the left hand and the finger

'-' ings with that hand are designated by means of nU1nbers, while the lower half of the clarinet is played witl

'--" the right hand and the fingerings are designated by means of letters. All that the pupil need remembel

18: LEFT HAND-NUMBERS, RIGHT HAND-LETTERS.

Since certain tones may be fingered by either the right hand 01' the left, the numbers and letter8 ar~

synchronized thus:

Key~ 1 ar· A wiU produce C# upper register and F# lower register. '--"

'-' _{Kt"Ys 2} 01' B will produce B uppei· register and E lower register.

Keys 3 or

e

""iH produce C upper registe,· and F lower reg-ister.

Either numhers or letters wiIl appear above the notes \,\'hen a particular fingering is desired, allo thel it will be aparant which hand i8 to play that particular tone ano what key i8 to he used. In some ca8ef

'--' both a number and letter "vil! appear over a note, signifying that both such keys are to be used in the pro duction of that particular tone.

g

~bX

x wiU he used over the high

Bb

and

Eb

-1st line thus: .­

x o o

EXAl\IPLES

' - ' ..., '--' _{C 3 B 2 A 1 5 F} 7 ₈ 6

_b

4 ...

r

F

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r

I

#r

F

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bj

j

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x

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b

_r

!,J

r

"r

D \....­

~

\,... ~ 2 B

b

F

b

5 '-" C C B 3 3 3

r

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olR

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Copyri~ht MCMXXXV1 by Rubank IIlC., Chicag-u, li!.

EssentiaI PrincipIes

of

GOOD

CLARINET PLAYING

1.

Good TOJ).e

is necessary in order that one's playing be a pleasure to the listener as well a s the player. Good tone can be produced only when the instrument is in good playing condition, equipped with a

good mouthpiece and reed, and played with a COI-rect embouchure.

2.

Intonation.

When two successive tones of different pitch are produced, it is necessary that each

tone be in tune with the other, relative to the interval being played.

3.

Tune.

The player must develop and train his ear so that a difference of pitch can be distinguished

when playing with others.

-i.

Note Values.

The player must develop a rhythmic sense so as to give pI'oper value to tones as

represented by the written notes.

5.

Breathing and Phrasing.

Each is usually dependent on the other. Since teachers of wind

instruments differ 011 the methods of breathing, no special method is advocated, but it is evident to all mu­ sicians that in order to get good phrasing, it is necessary to breathe properly. It is always to the advantage of the pupi} to spend much time and effort on this phase of clarinet playing and take seriously all sugges.­ tions given by the teacheI'.

6.

Expression M arks.

Expression marks are considered as valuable to the playing of music as

punctuation marks are to the reading of prose and poetry. Good phrasing is the performance of mu,.,i(; that has been properly punctuated. ExpI'ession marks put character into a mass of notes and if properly ob­ served vvill produce satisfying musical effects.

7.

Relaxation and Proper Position of Bodyand Hands.

\Vhether playing in stand­

ing or sitting position, ít is necessary that the body be erect but relaxed. Relaxation i8 the secret to the accomplishment of success in many otheI' pI'ofessions and trades. The arms must be relaxed, the elbows a­

way from the hody, and the hands aSi::iuming a restful position on the body of the clarinet.

8.

Sufficient Time for Practiee.

Since different pupils require different types and lengths of practice periods, the objective that every pupil should estahlish is: aI will master the assigned task wheth­ er it takes 'h hour or 2 homs." The accomplishment of a task is far more important than the time that it

consumes.

9.

Proper Care of the Instrument.

Carelessnei::is in the handling of an instrument is the most preva lent handicap to the progress of young players. No pupil can expect to produce good results if the instrument is in poor playing condition. The clarinet must be handled carefully and when a disorder is found, have it remedied immediately. Constant attention to the candition of the instrument wiIl pay divi­ dends in the end.

10.

Mental Attitude of Teacher and Pupil.

In order that the results be satisfactory, both the pupil and teacher must be interested in their task, and must have a perfe'ct understanding of what

that task is. The teacher must understand the leaI'Iling capacities of the pupils so that the pupils in turn

will get the type and amount af instruction that they will understand and be able to master.

LESSON 1

a. Have instrument in good mechanical condition, and the proper lay on the mouthpiece so that a f'ouno and full tone \:viU I'esult.

b. One of the important essentials in the playing of an instf'Ument is a rhythmic conception at sight, ano a cOlTect evaluation of note and rest valueso

c. In playing thfl sllcceeding studies, special attention should be placed on the proper adjustment of

emhouchl'e ano the pl'oper evaluation of notes and restso ,

'lfAndante - Keep the tempo steady.

1.

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F

F I F'

~

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F F

r

F

'llf/,- Natural 01' IlGll'mal tone,

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Note: Evely pupil beginning \\"ork in this hook should he ahle to sight read all the studies 011 this pageo

}JyelY pupil is I'equested to pl'o\ide a music note hook for the ptll'pose of \\Titillg' rhythms ano melodies that tbe tcachel' m,lY regui I'f'.

Cupyrig-ht l\ICMXXXVI by Rub"nk Inc .. Chicag-o, 111.

Marks of Expression and Their Use

LESSON 2

Pianissimo ----____

w _____

Very soft Fortissimo ______ ff---Very loud

Piano ________________ p _______ Soft _{Forte ---_-_ f ______ ._Loud}

Mezzo Piano______mp______ Medium soft MeZlO forta _____ nif---. ___Medium loud' (Normal tone)

In playing a tone on the clarinet (unless otherwise marked) the tone should be held at the same leveI

of volume, without increasing or diminishing the volume of sound. This type of a tone wiIl be indicated

hy means of parellel lines, thus:

= = = = = = =

The distance between the parellellines wiIl signify the difference of volume to be used. Thus: pp- p - mp- nif f .ff - - ­

p

= = = = = = = = = =

mp

.

7

--- ..--... ---J

1

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n

T'u?T7"

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~~---mp

=========================

p

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HARMONY

p =

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95 7

2

Studies in Expression

LESSON 3

SOUND GRADUATIONS

Crescendo (cresc.) - GraduaIly louder. Decrescendo (decresc.) or

Dimin~endo

(dim.) -

O:~~:rlly

In playing a crescendo or a diminuendo the pitch of the tone should not change. The clarinet has a tendency to become flat when playing loud and sharp when playing soft1y.

Rinforzando >-

(r:f)

is placed over a note for the purpose of bringing out that note more strongly than the other notes in the same sequence, and is commonly known as an accent.

In order to play the sound graduations ar nuances correctly, it is necessary that the quality of the tone is not affected but retain its rich and mellow fullness. Oniy the volwme slwuld clwtnge.

When a note is followed by one ar more shorter notes, the shorter notes are played with one half the volume of the Ionger note. There are exceptions to this rule, but it is a good pnlicy to learn to play alI phrases as mentioned, since the great majority of music played in this way will be properly pcrformed. A player interested in the pl3;ying of solos wiIl be greatIy aided through adherence to this rule.

,., F

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lr I

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lr I

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Fr I

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11

ff

f

f

l1U

rrif

mp

mp· p

p pp

f

l1if

f

rrif

3

f l1if lIif

mp

11

r'

F I F' F I F

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p

f"'lf

mp

BLUE BELLS OF SCOTLAND

Scotch

11

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Note: Refer to lines 2 and 3 for patterns used in the song BLUE BELLS OF SCCYfLAND.

Write the volumes, namely, mf, f, mp, p etc. in all the measures of this song with the patterns in sec­ tions 2 and 3 as a guide.

•

•

_•

•

Studies in Accents and Expression Marks

The rinforzando (>-) is placed over a note for the purpose of bringing out that tone more strongly than

the other tones in the same sequence and is commonly known as an accent. The accent punctuates the im­

portant notes of a measure ar sequence.

LESSON 4

MELODY

•

Give each note and rest its full value.

-i.

> >- > > , >- > >- ,

1

,2

i

J J

I r r I

rr

r I

r

1 I 3

J

ti

I r r I r r r I

li

1 I

f

>

> > > > , ~ > > ,

~rEr

_{Itrr IFEr IFr r IFEe IErr IEEr IFrr}

I

~:;7

:;7 :;7 > >

~

> >

,raa li

j

a Ir; r lErE IEEE I=EE Iraa 1;11

1

Observe carefully all marks of expression and p]ay with a steady tempo

~ ~

~

~

~=

~

~ ~ ~

ª

~ ~

2 ( '

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=

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P

=

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vu

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:;7 > ;; > >

-=-

> >

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r

F I F

r

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I

r

F F I

r·

F

=t

===-

mp

P

nif

P

=

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n!!

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>- :;7

>,..

> > fi'-

f:

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----========f

=

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f

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~~~

>- > > >

~

t:

r

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II

· f -

vif=

mp=

==-

p

=

f~

pp

LEGATO ETUDE

~

---->

~

----

, > -

~

~

~

3

@"rRIFFt IgErlrEr 1F1HIEF E

rl kE

Fifj

J

vif

f~

p

=

====-

-=:::::::

~nif========--~ > , > ,..-... : ? ,~

-w '

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f

F

t

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ff

ff=======-­

-, f-

r

ar

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f -::

mp

=

f=

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v1f

=

mf

=

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195 9

Articulation and Expression

LESSON 5

Moderato -

Play with a steady tempo.

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1

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iJ

R

r3J] I

tE

Fi

tE

Cf

I

cC

E1

te

cri

iJ

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UJ I

"fi

c

2 B B

~filnEEr;ldEfrrCf

1i]3J f3J9ln

JJ

_c

rrP

I

c

c

c

, c

fc

rtcE; I

ccEi

Ec

Ei

In

n

iJ

J

J

liJ

f1

c

cf;

I

11

,

-e-Play above study with each of the following articulations. Observe all accents~

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€1J·li~fiíi15lJ ~C~1J

#ª

ªta

It)g~

sJO

II

;;:>~ -....-/ ;;:> , ~ :> •

;;:>~ ~- :> ;;:> :>

,

1 - ; - -

-

--

':É',

6J

~ Uo~~

In

r

I

r

r

L I

a

kg::EJ

I

Dn

h

I

cifra

j

1

I

"!f

~

-

::::----

---Play daily for tone production.

P

Andante

3

'11

rUf-

r

I

r

(R2

íFff

F

I

H

CF

I

r

r

JJ

I

J

fl1BgJ

f

and

p -

even volume all the way through.

---

---Daily Studies for the Development of Technic

LESSON 6

The studies on this page are intended for daily home practice. These studies,if practiced diligently, will develop a clean and fluent technic. Most of the awkward intervals in the key Qf C major are in­

cluded and every finger gets the opportunity to develop independence of action.

Playeach study with a steady tempo, slowlyat first, but increase the tempo each day until every study on this page can be played fast or Allegro.

Breathe as indicated by the commas, whether you need to or noto Breath marks may be skipped if

two complete phrases can be played in one breath.

11

1

4

cu;

C

Rt

I

(fijCE[r

I

~r

I

c1fêfFEC1

1

mf

.

í

r~t

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fii1}

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(iêrcrrr

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rir

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r

l i

&

tEu

F

fi

I

rB

c

nu

I

@r

r

m

I

Frih

:

1

1

.

2

4

11

cir crU I

OH

JJjJ

I

J

JJJJJ3

J

I

tilitiFi:1

1

Keep right hand down when going to the lower register.

~~

~---~

, J3

J

J

J

J

J

J

I

JZJ

J

JjJj

I J

J

J

J

J

J

E

I

rl

r

tê

:11

mf

3

~

11

E@

ErU

I

ri

rRV

I

Em

E

rv

IGr

fÊ?bl

Keep right hand down for alI lower register tones except E.

4

~

11/3]

J

J

illl

ar

F

C

ar

I

8ft!

&r?

I

twt

:11

5

'1\

r1fi

C

fU

16

Cem

I

m;

(dI

I

riiR?t

:11

mp

Play fast and briskly.

6

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i)âhrMrcrrl@fdVICEErl_lcFrrljff01 r-

I

7

&2

HlrrErl@iàlrEErl_IRdiWIr- 11

f

11

LESSON 7

Legato Duet

Moderato

_c

J. E.S.

A ~ _{> - - - ­} :::: 2 C ~- ~

..

~ ":;7

:::-.

~

mf

--­

~

..

~ ~.

::---.

-p

'"If

_,

_=====­

--­

-

1,

-::;...--­ >­

-

~

...---x

rrif

mf -

--­

A

,

~ ::>

-

l"'" . . ~ . . ~ >-~

₌

>- >­

..

flf~

..

::> _::::=-p p

_:

f-;::;;_ _

p---­

-

-

-::> -...=....­ _{p::> """!}

---­

-

-=.. ::---­ I

:­

>-p

fl

.----­

~ --... ::>

-

-

::>

:

===-

p-"

-

-

===-p~

...-:

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-~-~

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- .,..

~

_H- .,.

..

::> p _::>::::=-P ~ ::=:::=-

----­

>-

.

>­ : : > - - - - . fl

,

.

_{- !L'}

~

• r-

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..

>-~. >-...----.

..

_'11if

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_f=

p

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---­

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>­

-

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f _____

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f

==-=-===­

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p

-- -- m f

mf

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~

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p ­

=

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=

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=

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f)

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f

p ;:;;:­

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12 195

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s wn "tt

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1

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~ As played

.

.

.

r r T

Staccato Studies

LESSON 8

~

Accent the first and third beats of each measure

~ Moderato

2@~

1\

lJNW

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4

I

JJª400

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PJJp4

'JP4iP

I

~

'lití

cresc.

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&&

JJOJpJ

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O

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I

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4

14

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1

=

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&&

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IHJmJ

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I

:

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n:;r@pJ

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P ?NH '?#OJJ

II

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Allegro B '

jtL

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~~

C • '-'

3 ; -

~

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Syncopation

LESSON 9

@he longer note of each measure is to be accented.

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LESSON 10

Studies in G Major

ti

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LESSON 11

The purpose of tms lesson is the sarne as lesson 7, only that an entirely new set of keys and finger­ ings is concerned. When you see a letter or a number above or below a note, refer to the chal't 80 that

you might be acquanted with the key intended to be used in the various passages on this page. Increase the tempo after each playing of the studies on this page.

The use of the E key.

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The use of the F and G keys.

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2 &15

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Low F# as fingered when played chromatically.

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4(\

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Low F# fingering as played diatonically.

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LESSON 12

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LESSON 13

The purpose of this lesson is the same as that of lesson 7 and 12. Accelerate the tempo each time that a study is played.

Tbe use of the E key.

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Keep right hand down until the last measure.

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The use of key F.

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6/8

Rhythms

Play as a duet, and count carefully.

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TIME

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Triplet Studies

LESSON 16

Example: Similarity between

%

and 2/4 tempo when the triplet is used.

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.

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3'

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7

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x

Bb

Major Studies

:::

LESSON 17

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Articulation Studies

LESSON 18

Practice each line until played smoothly and fluent1y, then accelerate the tempo.

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195 23 '-'

Danse Negre

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LESSON

19

MAZAS 5 F

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, Allegretto ,

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LESSON 20

D Major Studies

Observe ali fingerings as indicated.

CHORD

in

D MAJOR ~

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DAILY STUDIES FOR THE DEVELOPMENT OF TECHNIC

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---

---LESSON 21

Etude in D Major

Moderato

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l:.

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PETITE DUET

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26

1

Articulation Development

LESSON 22

R hmic patterns of 2 sixteenths and an eighth.

2

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J

I J ±lU In nU I JjjU Jnl

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MODULATING

ETUDE

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Dotted Eighth Note Studies

..., Dotted eighth note patterns

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I rzt. 195 28

Etudes On the Use of

Eb

and

Bb

Fingerings

LESSON 24

y..

CHORD ETUDE

x

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195 29

La Verginella

LESSON 26

_{ITALlAN MELODY}

Moderato

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f====-mp (';\ dim F G ri! 5 5 dim _ri! 195 31

Andante . .

WALTZ

4

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LESSON 32

There are two kinds of grace notes, short and longo Long grace notes are seldom used, but the short are used quite frequently. Instead of using long grace notes, it is more practical to write out two

notes of equal length.

In addition to the single grace notes there are double and triple grace notes,811dthese are usually writr

ten out and played quick1y either on the beat or before the beat, the piece of music played determining which

it shall be.

EXAMPLES OF

GRACE

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