Metodo Sax

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

T

502

V

'5

APR

24

1964

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,

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

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

upon plates keys.

The fingersmust

NOT

reston the _{platesor 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?

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

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 byboth 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 by}a 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 . . . . \ _.MajorKey

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.

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).

(11) (17) ,.Heel (10)-(11) ''X15) (1) Thickness Ligature or Reed Holder; (4) (6)

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

a^~^ ~~l~~ f I

of the four _spaces

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

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.

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

* - * f-~i r EE f

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

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

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

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.

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-.

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

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 thefirst 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

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

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.

Octaves.

o

t>

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

Two-four

time.

32.

(9

n

i

O

ffr'iff

33C Count: 1,2, 3, 4. 5

-o-40.

-f-^

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

1063S-247

34

-/,

i

47.

Count:1, 2, 3, 4.

^r

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.

^

36

Sixths.

53.^

: _{1, 2, 3,} 4.

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

10638-247

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

10638-247

39

Progressive Exercises

on Time.

Observe

the Rests.

Common

or Four-four time.

T

T

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. 1,2,3, 4, S, 6, 7, 8, 9.

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. -/

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

i, 2, 3.

79.

^uuni:

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.

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, 1, 2, 3, 4, 5, 6.

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 _{acquirefacility}of 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

44

-* N9 3.

93.

WE

f=m

=*

N94.

N? 6.

96.3

r-J

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 i

48

N99.

Moderate.

T

99.

3

N9 10.

Allegretto

100.

9-u

-49

N9 11.

Allegretto.

N9 12.

Allegretto.

N9 14.

Allegretto.

10638-247

50

MSIB.

Allegretto.

105

NQ18.

Allegretto.

T

N9 19.

Allegro.

T

1063S-247

Eighteen Exercises

in

articulation.

111.

NQ 2.

112.

or

r

r

N93.

F"^ r r

i

-=*qg

113.

N9 4.

114.

N9B.

53

N9 7. N9 9.

119.

NQ 10.

120.

rdt ^

^-^

N9 11.

121.

m P

NO 12.

_T

1063S-247

54

N9 13.

_T

r

nfTfTT

N? 14.

124.

^kO=S

N9 15

125.

N9 ^

Preparatory Exercises on

the

High

Notes.

Thirds.

f

55

129.

B

-D-i

Fourths.

-J

56

_Sevenths.

O

133.

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

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

_byplaying 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

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

10638-247

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.

tfti

^^

E

major.

(Four sharps.)

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.)

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. 10638-247

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.

24. 25.

44. ep Keepthe Df-key open

43

.

Keepthe Gjf-key open

47

Keepthe Atf-key open.

KeeptheD#- keyopen.

52.

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

68

N96.

N97.

3*

N98.

r

jj

'kJ

w

"

'jj^j

!

u

J^

J

y

y^jjjl

f^

N99.

Keep C|-keyopen.