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Rubank - Advanced Method - Vol.1

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11K views74 pages

Rubank - Advanced Method - Vol.1

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RP Tux
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UBANK EDUCATIONAL LIBRARY No. 93 SAXOPHONE VoL. | H. VOXMAN AND WM. GOWER AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS LSC RUBANK EDUCATIONAL LIBRARY No. 93 RUBEN SAXOPHONE VoL. | H. VOXMAN AND WM. GOWER AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS THE RUBANK ADVANCED METHOD for Saxophone is published in two volumes, the course of study being divided in the following monner: Vor. 1 | Kes of GF, G, By, and D Mejor. "” [Keys of A, , E G, and B Minor. Vou, w Rev of Er, A, A, & D>, and 8 Mejor [Keys of C, Fé, F, and C# Minor. PREFACE THIS METHOD is designed to follow any of the various Elementary and Inter mediate instruction series, or Elementary instruction series comprising two or more volumes, depending upon the previous development of the student. The authors have found it necessary in their teaching experience to draw from many sources in order to provide @ progressive course of study. The present publication assem- bles in two volumes, the material essential to a well-rounded musical development. THE OUTLINES, one of which included in each of the respective volumes, tend to afford an objective picture of the student's progress. They will facilitate the ranking of members in « large ensemble or they may serve as a basis for awards of merit. In addition, a one-sided development along strictly technical or strictly melodic lines led. The use of these outlines, however, is not imperative ‘and they may be discarded at the discretion of the teacher. H. Uorman — Wn. Gowes OUTLINE RUBANK ADVANCED METHOD SAXOPHONE, Vol.| H. Voxman and Wm. Gower SCALES ARTICU FINGER LATION EXERCISES ‘ond ARPEGGIOS 6 44 4 45 5 45 46 46 46 a7 47 47 a a7 48 48 48 49 49 49 49 50 50 30 50 50 50 51 5t 51 52, 52, 52. 52, 53 54 54 54 54 1@ @ @ © © @ @ ® @ @ @ @ @ ® ® () @ © Se @ @ @ @ @ @ @ @ @ @ @ @|@|®@| |@/O/@|@/@|@|@|©|@|O|@|@|@|@|@: S]S/@/@] j@]=! |®|@|®|@|@| () (®|@|®@|O|©|O©|@|@|© |@| ©] @| ©] ©|@|©|®|©|©|@|@|@|@|O|@|@| ©|@|@|©|©|O|@|o} © © ® ® Oo @ @ ® ® 5 @ @ @ @ @ ® @ @ @ @ @ @ @ @ @ @ @ @ @ @ ® ® @ @ © @ ®@ ®|®©|®©|@|@©|@|®@|@/®@|@|© |©| ©} O|©|@|@|©|O|@ |O|@|@|©}©|@|O|@|Q|O|@|@|o|o|@ |®|@|@|@|@|O|@|@|®@|@|@ |@| © || @|@|©|O©|©|®|O©|@|@|©|©|©|O|©|O|©E|oO|O}o|e|e} OO |O}O |O/G|O|O CP |O|O|G/O|OO S/O} /O|S/© © |O|O|©|O|©E |e |e |o |O |} @ @e@®@ NUMERALS designate page number. ENCIRCLED NUMERALS designate exercise number. COMPLETED EXERCISES may be indicated by crossing out the rings, thus 18Y PRACTICE AND GRADE REPORT walsawas GNOdaS walsawas isaid Scales and Arpeggios © Major a — ainite ————— simile simile ee Copyright MCMXL by Rubank, IncnC Copyright Renewed International Copyright Secured jeagoylll. SS simile Various articulations may be used in the chromatic, the interval, and the chord studies at the instructor's option. «) (ay Exercise in Thirds Common Chord, Dominant 7th Chord A Minor The sign A indicates a half step Natural Harmonie monic eA Thirds Common Chord w Diminished 7th Chord (1) High E in this orpeggio should be fingered 3 on saxophones having key S. g fete Common Chord te Natural 25 Melodic 27 fhe 8 () High F in this arpeggio should be fingered § on soxophones having key S. 10 Common Chord Diminished 7th Chord G Major Thirds Common Chord 37 Dominant 7th Chord 38 E Minor Natural Harmonic Thirds Common Chord 44. Diminished 7th Chord Bb Major 47 z — == = simile > Common chord Dominant 7th chord 15 G Minor Harmonic Natural Melodic Common chord Diminished 7th chord 59 16 D Major 7 Thirds Common chord Dominant 7th chord 18 B Minor Natural Harmonic Thirds Common chord Diminished 7th chord 19 Studies in Melodic Interpretation For One or Two Part Playing The following studies are designed to aid in the development of the student's interpretative ability Careful attention to the marks of expression is essential to effective use of the material. Pencil the technically difficult possages and devote extra time to their mostery In rhythmic music in the more rapid tempi (morches,dences,etc) tones that are equal divisions of the beat are played somewhat detached (staccato). Tones that equal a beat or are multiples of Tones followed by rests are usually held full value. This point should a beat are held full value. be especially observed in slow music. BROD Moderato (4 :#s) Copyright MCMXL by Rubank, Inc. Chicago, Il. International Copyright Secured right Renewed 20 MOZART Tempo di Menuetto TRIO Menuetto D.C. 21 Andante grazioso(4=120) MOZART ptt tt ‘ — Se == s : 3 P oe — mf ‘ r pss weg feo 7 22 BARRET Moderato (J.84) 23 Moderato oaneed orese, f — smorsando ‘== _S=—_ 24 Practice No.6 first in three counts to the measure and then in one. HOHMANN Allegretto 25 ce eee VERROUST = P 26 BARRET Allegretto (J:104) Allegretto Lo ° 27 28 BROD All°non troppo (4:76) - «+ 3 Meio phe He FL, He 29 BARRET Moderato (J: 9) 30 VERROUST Larghetto 73+ 781-78 34 NIEMANN Allegro mf leggier 32 NIEMANN Allegretto % DiS. at Fine Andantino NIEMANN & —_—_—_——. 33 Andante VERROUST _————— — => —~ oe 34 PP rail BERR Moderato 35 NIEMANN Allegro non tanto HOHMANN: Allegro 36 BARRET Moderato (4:83) 37 BROD 38 CARNAZZO Allegro 39 pit allarrandy 40 Allegro moderato NIEMANN TRIO a 42 Allegro maestoso NIEMANN 24 St mt = P cantabile 43 t eae P (pita f on repeat) 44 Studies in Articulation In all exercises where no tempo is indicated, the student should play the study as rapidly as is consistent with tonal control and technical accuracy. The first practice on each exercise should be done very slowly in order that the articulation may be carefully observed. In allegro tempi figures similar to should be played should be performed yetc. The figure 45 46 Tempo di Tarantella (in fast two) mf sempre staccato St 47 48 49 Leggiero (+=ss) P sempre staco. - = SF Tempo di Valse (2-172) 50 Allegro con moto > r= cee sempre fF zo. azaled de Leggiero simile 51 Brillante 22 rt fs Se waccato. va ty oc aPae> ples 52 53 54 5 fae A Exercises in Fingering Practice these exercises slowly and increase in rapidity as the difficulties in fingering are overcome. © ® @ retain of Regering (ge aT @ Use chromatic Gb-F# i See Nog? —————___ eee @ By pe TA Rey Wand plate BS, are struck together zn [byes ium rae 55 There ore four commonly used fingerings for Bh: “Oconee 8 8. ® @ @s3. 3 Zz ~ ~~) @ w ernie SS —_—_—— eter antstecesP8r** see no 79 Seene.78 emoin So pletes _——— ( On many saxophones high F may be fingered in addition to the regular fingering. (@) On many saxophones high E maybe fingered § in addition to the regular fingering. (@) On some saxophones D#(Es) may be fingered } in addition to the regular fingering. ovation (outs (ous Table of Trills for the Saxophone 58 Trill key number or letter enclosed by w », § g 5 Use octave key (R) on trills from Inpracticable om Qe, ~p. on Affd te-,] = om oS on is. b am tr ts rm ha bom tes - when (This trill is only for sexophones capable of producing O#-Eb ca ph myo) rn oo dard) aid cere re iar ait i a de eee , A 1 24 whe wine Rees jean orto rn rn oe a rn a rm w- ot fae feed *s tot? bo?) a? & xt gor” fable = A rs ' whew joke HOF y * one = ae a a rm rm om — om oo Eo rm gb rm Dor tm tr ob) te gid @ od 1 od oo ted OO tela) z cot eS s Sa ni nie aePe aie mus or ane | wes = 2 ME aha (4) This trill is only for sqxophones having key S, 60 . Musical Ornamentation (Embellishments) The following treatment of ornamentation is by no means complete. It is presented here only Gs a guide to the execution of those ornaments which the student may encounter at this stage of his musical development. There are different manners of performing the same ornament. The Trill (shake) The trill (or shake) consists of the rapid alternation of two tones. They are represented by the printed note (called the principal note) and the next tone above in the diatonic scale. The in- terval between the two tones may be either a half-step or a whole-step. The signs for the tri ore t and —~. ‘An accidental when used in conjunction with the trill sign affects the upper note of the trill. Be sure to look up each trill fingering in the table. Play as in No.1 oe oe Po g = $ + $ Pa $ Pe r a eS + The asterisks indicate trill fingerings that differ from fundamental fingerings. 61 Grace Notes (Appoggiatura) The grace notes are indicated by notes of a smaller size. They may be divided into two classes, long and short. Long grace notes from “Serenade” Haydn Andante cantabile eS > ? 5 mf > > cp? » <= In instrumental music of recent composition, the short grace notes should occupy as little time as possible and that value is token preceding the principal note. They may be single,doub- triple, or quadruple. The single short grace note is printed as a small eighth notewitha stroke through its hook. It is not to be accented. Use trill fingerings when fundamental fingerings ore too difficult. Short grace notes Excerpt from “Rustic Wedding” Goldmark Allegro scherzando Excerpt from ‘Moment Musical” schubert Allegro moderato 10 62 Excerpt from’ Turkish March” Beethoven Vivace The Mordent The short mordent (+) consists of a single rapid alternation of the principal note with its lower aux ~ iliary. Two or more alternations are executed in the Jong mordent The short inverted mordent (w) does not have the cross line. In it the lower auxiliary is replaced by the upper. It is the more commonly used mordent in music for the wind instruments. The mordent takes its value from the principal note. Short (single) Inverted Mordent. Long (double) Inverted Mordent. ~ ~ ~ ~ ow iad tA a aw 16 63 Short Mordent Long Mordent ey 17 from “Menuet” schubert Moderato os con a 19 P In trills of sufficient length a special ending is generally used whether indicated or not The closing of the trill consists of two tones: the scale tone below the principal note and the principal note. In long trills of a solo characte: speed. Practice the following exerci: is good taste to commence slowly and gradually increase the s in the manner of both examples 1 and 2. Ext gy a The Turn (Gruppetto) The turn consists of four tones: the next scale tone above the principal tone, the principal tone itself, the tone below the principal tone, and the principal tone again. When the turn (oo) is placed to the right of the note, the principal tone is held almost to its full value, then the turn is played just before the next melody tone. In this case(Ex.1,2,3,4,and 5) the four tones are of equal length. When the turn is placed between a dotted note and another note having the same value as the dot (Ex.6 and 8), the turn is then played with the last note of the turn taking the place of the dot, making two notes of the same value. The turn sign after a dotted note will indicate that one melody note lies hidden in the dot. Ex Ex.2 Ex.3 Ex.4 Ex.8 aeons “7. © Ex.6 Ex.7 Ex.8 Sometimes an accidental sign occurs with the turn, and in this case, when written abovethe sign, it refers to the highest tone of the turn, but when written below,to the lowest. (Ex.2and 1). When the turn is placed over a note(Ex.3) the tones are usually played quickly.ond the fourth tone is then held until the time value of the note has expired. In the inverted turn(Ex.4) the order of tones is reversed, the lowest one coming first, the principal next, the highest third and the principal tone again, last. The inverted turn is indi- cated by the ordinary turn sign reversed: o or by 2. Ext Ex.2 Ex.3 Ex4 ae Pleyes ——_ Allegretto ~ 65 Andante ARBAN ~ soLos 66 Minuet from Orpheus Andante eLuck Se _——_—_, Chanson Triste Allegro non troppo TSCHAIKOWSKY con molto espressione 67 The Swan C. SAINT-SAENS 68 On Wings of Song MENDELSSOHN Andante tranquillo 69 Ah! So Pure from Martha FLoTow Moderato —- en 70 Allegretto Brillante J. DEMERSSEMAN, Op. 46 Eb Alto Saxophone ‘Arr. by H. Voxman Allegretto brillante “— 8 G@ a —= = Copyright MCMXXXxX by Rubank,Ine.Chicago,Itl. Copyright Renewed International Copyright Secured orese. nf accel. presto esse aT HUT Compiled and Edited by H.VOXMAN 7 E> ALTO SAXOPHONE with piano accompaniment CONTENTS ANDANTE AND ALLEGRO André Chaillevx 10 : AT THE HEARTH from Suite Minioture A. Gretchoninoff 2 2 : CANZONETTA AND GIGA Leroy Ostransky 6 2 : ‘CONCERTANTE E. Paladilhe 20 55 éécie Ed, Boret 13 32 : EVENING WALTZ from Suite Miniature A. Gretchoninoff 3 4 : FANTAISIE MAURESQUE F.Combelle 18 48 : FIRST CONCERTINO Georges Guithoud 22 62 INTRODUCTION AND RONDO Leroy Ostransky 14 36 : LARGO AND ALLEGRO from Sonata VI G.F.Hondel 12 28 : méLovie Simon Poulain 5 9 : MINUET from Haffner Music, K. 250 WA Mozart 4 ‘ : RECITATIVE AND ALLEGRO Poul Koepke 16 a ‘ SONATINA (Based On Trio V) J.Haydn 8 18 RODANIC HALsLEONARD SALIENT FEATURES WRITTEN by schooled instrumen. OCU mec eren) Pope eee eet ated TC cre) CU ee Seem caer en in 0 forma! designed to min imize sightseoding obstacles A eer eee fingering charts are included PaO Cree woodwind books of the series Ces) ee ed er Oe problem, presented in en in ee eee MATERIAL utilized is presented Perera cem tel er ear ere? eee Ry ae eae Cad introduced to provide stimu. Peo ee cer for band and orchestra work TU meee aay oto ern ea CouO ae Perea ee On ete Pte esr ae ot Berar en ee meet the rigors of student use U.S. $6.95 Ml ll | HL04470370 | ° 2 {ystiumaital eth, From the RUBANK EDUCATIONAL LIBRARY RUBANK ELEMENTARY METHODS A Series of Graded Fundamental Courses for Individval or Like-Instrument Closs Instruction UTE (Peco) Petersen E> or BBp BASS (Tubo). . Hovey ‘CLARINET Hovey DRUMS Yoder ore ++ 5 eter RARIBA or RYIOPHONE. Petr BASSOON Stomicea — MARIMBA re ‘SAXOPHONE Novey GUITAR (Spanish) « « DePressies CORNET or TRUMPET. | “Robinson VIOLIN tana FRENCH HORN (E> Afo-Melophone) VIOLA LLL era ‘Skornicka ‘CELLO. . os. «Word TROMBONE or BARONE. . Long STRING BASS. | ||| | | Ward RUBANK INTERMEDIATE METHODS A Series of Graded Follow Up Courses for Individval or Like-Instrument Class Instruction. FLUTE (Piccolo) . .Skomicka-Petersen TROMBONE or BARITONE ‘Skornicka-Bolt2 CLARINET Skomicke-Miller ‘OBOE Serre oe rer lm acura aced Len eee tae BASSOON Voxman DRUMS. Cm ‘SAXOPHONE Skomnicka __ MARIMBA-XYLOPHONE-VIBES . Joliff, CORNET or TRUMPET . . Skomicka VIOLIN Potter FRENCH HORN (E> Alto-Mellophone) VIOLA. eee Ward ‘Skornicka-Erdman CELLO Ward RUBANK ADVANCED METHODS A Series of Outlined Courses of Studies Designed to Follow ‘Any of the Various Elementary or Intermediate Method Series FLUTE, Vol. | Voxmon-Gower CORNET or TRUMPET, Vol. I FLUTE, Vol. Voxman Sa CIARINET, Vol |. . _Voxmon-Gower FRENCH HORN, Vol. |. Gower-Voxman CLARINET, Voll! . _Voxmon-Gower FRENCH HORN, Vol.tl. Gower-Voxman foxmon-Gower TROMBONE or BARITONE, Vol OBOE, Vol. | loa nee C808 Nell XMS TROMBONE or BARITONE, Vol. I BASSOON, Vol... Voxmon-Gower coer ate San Voxman > or BB» BASS (Tubo}, Vol. SAXOPHONE, Vol.|_. Voxman-Gow ‘Gower-Voxmen SAXOPHONE, Vol. It Voxmen E> or BB> BASS {Tuba}, Vol. I CORNET or TRUMPET, Vol. | Cente Gower-Voxman DRUMS Whistler 1SBN 978~1=4234-4632 it MI 78142344432! 4329! 9

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