Book 1A Beginning Clarinet/Bass Clarinet NEW EDITION By Harry H. Haines & J. R. McEntyre Contributing Editor - Tom C. Rhodes i bod B323 sou: = MART we ‘SAN ANTO! 1-800-545-6204 * www. musicmart.com Gu COMPLIMENTS OF: mE MUSIC NYMusical Terms Index Staff—s lines and 4 spaces. 2 Gm Clef Sign 3 DE Bass Clef Sign Ao doe Signature 2-4 boats in each measure beach dnote gets one beat Be = Bar—Divides staff into measures. Measure—Space between two bars, 5 Flat—Lowers a tone ¥ step. GB = Sharp—naises « tone 4 step. £ Natural—tndicates that the note is not to be sharped or flatted. Tt cancels the effect of a sharp or flat. 7 © Whole Note 8 = whote Rest 9 © Quarter Note 10 11. Hiatt Note 12 13 JT Bighth Notes 14 Dotted Half Note 15 Quarter Rest 16 Time Signature a8 beats in each measure reach J note gets one beat. 16-A 2 Time Signature § a2 beaten each measure beach # note gets one best, 17 a Tic—Combines two or more notes of the same piteh Repeat Dots—Repeat entire section, Double Bar—Marks the end of a section. Half Rest acme 9 |, Dotted Quarter Note Hold or Fermata—Give extra time. Bas ro 215 Ist and 2nd Endings Play Ist ending the first time then repeat strain and play 2nd ending. 226 Key Signature—Flats or sbarps placed atthe beginning ofa section, indeae that these notes are. sharped or flatbed ‘throughout the section. 23 | J Stur—pitferent pitches joined by a 2 curved line in which only the first note is tongue 24 Fine—Finish 25 D.C. al Fine—Go back to the beginning and play until you come to Fine 26 + Bighth Rest 27 ~very wt Pp ~s0tt mp ~moderately soft my ~moderately loud Flow fe “ery loud 28 — Repeat the preceding measure. 29 Pick Up Notes—Aa incomplete mees- ure at the boginning: ‘note values. are ‘Usually taken from the last measure. 30 C. Time Signature—This means common time whichis the same as | Time. 31 Andante—Modeatly slow and smooth owing 32 Allegro—Quite tast. 33 Maestoso—Majestically. 34 ¢ Cut Time—same as 3 time. Means to cut all note value to hal as long 35 JF7F sixteenth Notes 36 Sixteenth Rest 37 Accompaniment—A part that sup- ports the melody ie subordinat to 38 Enharmonic—Two different names for ont tone 39 + Breath Mark.Division of Bea A Breath Impulse Method For Beginning Band Classes BOOK 1A By Harry H. Haines Music Department Chairman West Texas State University Canyon, Texas And J. R. McEntyre Coordinator of Music Odessa Public Schools Odessa, Texas Contributing Editor Tom C. Rhodes Copyright 1980 by Harry H. Haines and J. R. MeEntyee Copyright 1081 by Southern Music Company, San Antonio, Texas 78202 international Copyright Secured All Rights ReesrvedFINGERING CHART CLARINET © indicates hole open. ‘4 —indicates hole closed (or key depressed). E e FR (Gb) G G# (Ab) A Bb (at) 8 3s > Ss Oe) mop egg teow ff i ie # a & & a 3 3 Se 4s og kg eK & 8 oe 8. 8 3 A) & s & s&s 8 & & & A Bb (AH) BB c c# (0b) D Eb (DF) E 5 Boogioc= Boogiees|INSTRUMENT POSITION Rowie Durden Embouchure Suggestions for Clarinet Embouchure are as follows: ‘The student should purse the lips and say “oo” moving slowly from that to “ee,” then back half way to “oo.” This is the approximate setting for the correct embouchure. Corners should be tight with just enough lower lip to cushion the reed from the teeth, Certainly no more than half of the thick part of the lower lip should be over the teeth. The top teeth should rest on the mouthpiece about % inch from the tip and the chin should be pulled down in a pointed position. No air pockets should form between the lips and teeth. a2LESSON 1 ‘Starting on the Mouthpiece This entire lesson is intended as a quide for activities to be explained and demonstrated to the student by the director. While performing, the student is encouraged to watch the director and not the book illus- trations. The authors believe that best results will be achieved if the teacher will approach this lesson using @ Suzuki-like setting. The basis should be rote teaching using much imitation and repetition. I. Make a Sound Start with your mouthpiece (reed properly soaked and placed) and barrel joint, Place the mouthpiece in your mouth as in- structed by your band director. NOW, can you make this sound by imitating your director? (Director and student should produce concert F# ) > a ray ° ° ° Director Play Repeat this many times. Students Play ‘Try to hold this sound as long as you can. (You may want to hold it longer than anyone else in the class.) II. Practice Pulsing To practice pulsing, “hiss” through your teeth very loudly and with great force. Imitate your director. Can you “hiss” louder than your director? per ¢ d dad cet ae) TIT. Pulse, the Mouthpiece Sound Now your director may permit you to Pulse this sound. Try to do this exactly as explained Pulse: Pulse: Hold your chin still wee City Director play keep the air moving and the sound going. pif Students play IV. Put It Together Your teacher may now want to explain how to assemble your clarinet, Do this very carefully. V. Play Real Notes. Your director will show you how to finger these nates. G G F E A A Repeat each note many times in sequence. DIRECTOR—STUDENT Director Students Director Students Director Students Play Play Play Play Play Play basVIL. Tongue a Real Note (Explanation on Page 3) Director: Students: Wold your chin still sea — ST Sem With the first Finger Tonge: ns se Tone SMS ef your right hand Ori ce Sn sae while you tongue. VIL. Pat Your Foot. Tongue the notes and pat your foot. Director: 1. Pat your foot and say Students: (= tee in “down-up-down-up-down.”” 2, Play the notes. SES 3, Play the notes and pat your foot aon op ow p= down (think “down-up-down-up-down"?). 4. Tongue the notes and pat your foot. VIII. Play a Tune. Your director may now show you how to play a tune. (Suggestion: any three note tune, such as “Merrily We Roll Along” by rote.) IX. Pulse with a Good Tone. Count silently on the rests. . Pat your foot all the time — even on the rests. (Continue to pulse 8 per note.) G G G G Director Students ‘Students Students X. More Rote Practice. Count rests silently, but pat your foot. F F F F Director Students Students Students XI. A Good Warm-up Exercise (Repeat many times.) G (a G c Director: “~ Students: XI. imitate Your Director. Pulse a good tone. Pat your foot accurately all the time, (Continue to pulse.) Silent__A. A Director Students {foot pat] Students ‘Students XIII. Things to Learn before Lesson 2 fF OF FF FF F F BE = = J Mus Bass, Teble Time Whole Measure Quarter Double Staff Clef Clef Signature Line Rest. Note Bar B23a LESSON 2 io & Think and Listen! oF $61 This symbol denotes something new! & ‘Throughout this book, new musical notation and terms are marked with i sign. The number refers to the Index of Musical terms found on the inside front cover. 1 The First Written Note Repeat this line many times. whole note whole rest 4 counts 4 counts in f time in { time 2 Add Breath Impulse and Footbeat Play this tine many times. Use variations such as teacher playistudent play or solo/class. footbeat wa” ee ee ee er think Sep Sener sven Sete tp Seen ap Seen Gp deve ap Sone tp 3 Quarter Notes and Counting (ee page 33 for an explanation of the counting system used in this hook) footbent wae weed wa ww we OO a on A Tonguing the Air Stream : we dd dd Rin 5S Tonguing Correctly (Smoothly) Gotbet ee e count | Siinsen to" S5 hee 3 Too SS ROS RS ae ee eta Se OS eee 6 More Quarter Notes and Whole Notes—— LESSON 3 It is very important to start each class with a routine to build tone quality. ‘Suggestion: Use parts IX, X and XI from Lesson 1. pe Ff 8 7 A Lower Tone 8 Switcheroo Keep tonguing legato (smoothly). 9 Half Notes and Half Rests 10 Who Will Play in the Rest? 12 All Mixed Up! “How to become a good player... Tap foot, count and play every line! Baé a LESSON 4 Suggestion: Start each class with a warmup. Use parts IX, X and XI from Lesson 1. Learn How to Clean Your a Instrument Properly. 13 The Third Note is E (ask you teacher about Transposition of instruments.) shin oat 14 Three Tones Together 15 The Echo solo class solo lass, solo class 16 ‘two Lines Together Play these lines in unison one at a time, then divide the class and play them as a duet 18 Lots 0’Notes Work for legato tonguing style—long notes. 19 Who Will Play in the Rest Again? Ba Don't puff out cheeks!LESSON 5 Suggestion: Add to your warm-up routine line XII from Lesson 1 Every Note is a Pearl! 20 Going Higher 21, Eighth Notes Are Easy dotted half ‘quarter rest 24 Third Count Mix-Up 25. Finally the Fourth Count Special Assignment: Before xoing to line #26, try to count and play Ist measures of 22, 28, 24 & 25: then do 2nd measures straight down, then 3rd measures... this is a great exercise in rhythm! 26 Rhythmic Challenge 27 Our First Tune Keep the air flowing; work for legato tonguing styleBb LESSON 6 yo sf 3 Always Carry Your Instrument Case with Lid Toward You! 28 A New High Note 29 Three Beats Per Measure 30 Three-Four Time Again 31 Tyo Beats Per Measure 32 Counting Notes 33 Counting Rests 34 Hymn Tune Legato tonguing will help you the most! BaLESSON 7 Suggestion: Start each class with warm-up #1 (Page 28) 35 High Leap Vas 36 Another New Note ol : 37 Twinkle Twinkle This song can be played together with all instruments except Bb Saxes, Horns, and Oboes, 38 The Tie 39 Play It Again Sam my ‘Stee AO Who Will Play on a Rest? A1 Lightly Lightiy ‘This line can be played together with all instruments except Bs Saxes, Horns and Oboes. A - s Special note to your director: It is suggested that tonguing style now be augmented to include a medium marcato. pan uLESSON 8 A2 Review All Notes A3 Move Those Fingers 4A Fingering Mix-Up 45) Fingering Challenge AG Fingering Fight Suggestion: As a special assignment, go back and do the Ist measures of lines #43, 44, 45 and 46. Count and then play each “Ist measure.” Next, count all the 1st measures straight down (without stopping) and then play them straight down. Do the same for the 2nd measures (a ha! the counting isn't written out for you). And finally, count and play the 3rd measures straight down. A7 Dotted Quarter and Eighth Notes ighth Notes are Eighth sometimes writen with vest at sinale flag’on the ster. 47-A More Dotted Quarters AB Dotted Quarter Again AQ Name That Tune Proper playing position is important. RLESSON 9 50 Playing Lower 51 Clarinet Solo Solo 52 Fermata By = 53 Higher and Lower 54 Moving Up and Down 55 First and Second Endings By 56 Jolly Ole St. Nick 57 The Hardest Line (so far)LESSON 10 The Key Signature Lesson a ov an 9 Another Scale SS. 60 High and Low é s a a a 2ST = : 3 a # 7 aa 61 Last Note Mystery ® > é é be = re = b 2 ze > 2. Key Signatures ae 2S 63 Merrily with a Key Signature —S = = == =] igs He Sse FHF FETS Fe Sets TZ 63A Learn a Key Signature Chant oe eee Key of C, no flats, no sharps. Key of G, 1 sharp: F sharp. Key of D, 2 sharps: F sharp, C sharp. (Id J) 7) Key of F, 1 flat: B flat. Key of Bs 2 flats: B fat, Eftat. (9 7 7) Key of Es, 3 flats: B flat, E flat, A flat. (09 2 I 7) (Later, your director will perhaps give you additional chants for other Keys.) am 14LESSON 11 Suggestion: Add warm-up #2 (Page 28 64 sturs and Tick Rs w 65 Slurring and Tonguing = = A ¥ FZ 66 Clarinets Lower SF = = 67 Echo the New Key 68 Is the Echo Correct? <> i | 69 Play Lots O'Notes = 70 Moving On ee - 71 Marine’ Marine's Hymn A. = Congratulations! Youve halfway through the book! bars 15LESSON 12 What Are Keys? 72 Barcarolle in Three Keys 73 Same Song, New Key Ze gee E 74 Again, Another Key ——* - 75 Name the Notes (Watch the Key!) — 76 More Notes, New Key 77 Say Chant, Name Notes 78> Syncopation 79° Caisson Song 80 (art of) Our Boys Will Shine 4 Here's help! On page 30, practice rhythms #43-72. They're lots of fun! Ba 16v D Py: LESSON 13 my; ee == _ = 4 ° & a 81 Going Higher s 82 Higher Clarinets s 83 Clarinets Higher Still os 84 Dedicated to Clarinets 85 Clarinets Sometime Squeak Paes < : 86 Accompaniment”: 87 Saints ‘and pick-up notes) Ban ‘An incomplete measure? _~S—~—t—”—CUCUCUCUC—L_=— LESSON 14 te a 88 sturs 89 Clarinets Can't Play This Now (Later?) = 90 Keep It Smooth 91 (om) Ps (Oom) Pa ' 92 om (Pa) Oom (Pa) 93 Rouna 1 94 Michael Row the Boat Ashore Are you counting the first two notes correctly? 95 Twinkle Twinkle with HarmonyLESSON 15 Time Signature Lesson A traditional explanation is as follows: ‘Top Number = Number of counts in a measure Bottom Number = The kind of note which receives one count (similar to the bottom number in reading fractions, 1 half note; 4 = quarter note; 8 = ei QUESTIONS: { time = _4 counts per measure, Quarter note receives 1 count. Jitime = counts per measure, _note receives 1 count. time = counts per measure, ___- note receives 1 count. SUGGESTION: Make up some time signature and drill for fun! 96 Count and Play 98 Down in the Valley —. 99 Row Row th’ Boat (Round) 100 Fast Side-West Side a3 ieLESSON 154 Time Signature Lesson (and a suggested new way t0 explain time signatures} ‘The time signatures listed on the previous page are explained in terms of their traditional definitions. (Sometimes this is referred to as ‘‘simple time.”) A lot of music today, however, makes it necessary to explain time signatures in different way. One different way to do this is to group three eighth notes into one beat (example: [J] =J,, soa dotted quarter becomes the note that gets a beat in fast j time.) Combining several counts into one larger beat is sometimes called “compound time." For this reason, itis important that you learn a different way to understand time signatures. Itis as follows: ‘Traditional Explanation: = 9 counts per measure and an eighth note receives 1 count. Different Explanation: = 3 eighth notes or their equivalent in each full measure, Does this help? Try it out to see how it actually works! For each of the lines on this page (which may sound very familiar) try to tap your foot, count and play using only one beat per measure, three breath impulses per beat. The counts have been written under the first few measures to help you. You may have more fun and these lines might sound even better to you played one beat per measure. Now play this entire page in one count per measure. 96A Count and Play this way (in one) 97A For Fun f 98A Down in the Valley — - 99A Row Row th’ Boat (Round) 100A East Side-West Side Bas 20LESSON 16 Suggestion: Add warm-up #3 (Page 28) Meee Dynamics: Can You Name 6 Levels? 101 A» Concert Seale inj Time mf Can you count and play this 2 ways?” 102 A+ Concert Seale in } Time t (Can you count and play this 2 ways? ‘Suggestion: Now go back to Lesson 6 and play through the book again counting and playing all } lines one beat per measure. You'l be surprised how quickly you can do this (and how much better many lines sound when played fast!). 104 Dona Nobis Pacem |= 60 \ = P Some lines will always sound better when played slowly, paz aDIVISION OF BEAT SUPPLEMENTAL LESSON I ‘The “Waltz Time” Lesson A. Scale in % Time 4=60 B. Scale in Waltz Time 4.=60 CC. Round in Waltz Time 4.=60 1 D. Bear Went O’er the Mountain E. sweet Betsy From Pike melody accompanimentSUPPLEMENTAL LESSON II ‘Some lines with Two Impulses Some lines with Three Impulses E_ Duet (Part 1) vee G. Duet Part 2) | H. Helping Clarinets Wey I. More Help For Clarinets J. Band Played On 1=60 K. ‘Sidewalks of New York accompanimentSUPPLEMENTAL LESSON III Reviewing the Dotted Quarter Note Gt Ab fh | L. America (J =60; 3 beats per measure) M. Dotted Quarter Notes = N. The First Beat QO. The Second Beat P, The Third Beat Q. West Texas Song melody accompanimentSUPPLEMENTAL LESSON IV Building Range and Technique R. Duet (Part 1) S. Duet (Part ID! : ; i : T. Basic Technique U. Building Technique V. On Top of Ole Smoky ( d:=60, in one) _ ae ~ W. East Side, West Side J-=60 melody | accompanimentLESSON 17 105 D> Concert Scale in } Time Bay 106 Ds Concert Scale in § Time 107 Chopsticks mf ye 107A Triplets 108 Pop Goes the Weasel 7 - ——— | Pop! f 109 Dotted Half 1Count 110 Dotted Half 2 Counts 111 Dotted Half 3 Counts 60 .=60 J=60 | 112 our Director March solo ‘accompaniment - It is very important that you use warm-up #3 to practice every day playing four impulses per beat. Ba 6113 chromatic ale in mf 114 Chromatic Seale in § ft 115 Beautiful Dreamer T R 116 Tanarmonic = Ask your teacher about “E to F” and “‘B to C”, then write some enharmonic notes. 117 Sharps Ascending, Flats Descending 118 Toby Loo 119 Carnival of venice ” of 120. Goka Night Ladies * Andante soloLESSON 19 ‘Suggestion: A really great way co review fundamentals and practice playing cut time (at the same time) is to go back through this book playing al of the { lines (that do not include 8th notes) twice as fast. 4s though they were written in cut time. You'll be surprised how quickly you can play these lines and it will probably help your eg0 to see how much you've improved. 128 ¥r.otban Tune Allegro f 1258 Beethoven's 9th Maestoso mf 124 Palo Duro Canyon March pao“e LESSON 20 125 Technique Fun & 126 Technique Fun Lil’ Harder 127 Harder 'N Harder os 128 Hardest Line in the Book? 129 Stars and Stripes Forever (Finger F#) 130 Long, Long Ago a | Practice ‘more rhythms” on page 31 — this will help you even more. Bas 29 PoLESSON 21 Suggestion: Add warm-up #4 (Page 28) 131 ‘teenth Notes Have Finally Ar J 132 More Sixteenths oaee 133 Love Those Sixteenths 134 Sixteenths Forever eo + 135 Ten Little Indians 136 Little Brown Jug 137 Dixie (is Too Hard for This Book?) This line is too difficult for this book. Can you play it? 30LESSON 22 138 Running Sixteenths 139 Same Thing in Cut Time THE BIG PAY-OFF! Now that you can count and play 8th notes in cut time (which are really sixteenth notes... right!) go back through the book and play all of the $ ines which contain 8th notes and do them in cut time. Tap foot, count and play every line; you'l be an expert in DIVISION OF BEAT! 140 William Tell Allegro . . ot 141 Hi Ho, Nobody Home (Round) 142 Aura Lee Andante > mp 31SUGGESTED WARM-UPS Note: These should be memorized as quickly as possible and played as a daily routine at the beginning of each class session. Warm-up 1 (For lessons 7-22) Two breath impulses per J = 60 Warm-up 2 (For lessons 11-22) Three breath impulses per beat 4. 60 a think 1 eh toe 2 th ee Warm-up 3 (For lessons 16-22) Four breath impulses per beat Warm-up 4 (For lessons 21-22) Six breath impulses per beat 4. = 60 Suggestion: As soon as practical, change warmups 1 and 2 above to chromatic and delete rests. Warm-up 5 (For introduction to Book II) 0} Ba 32CLARINET Procession Arranged by B. G. EVANSRHYTHM EXERCISE Set 1 (All exercises on this page can be counted with 2 impulses) 3) 4 18. 5 7 fo ? af | d Ht 13 if Wd sf i Ji Fae et 25 eet ey au 28 mo )29 30 po ay m2 A | + i 55 vy) b 27 58 a 1 Ny 8 fly dl th DLT, Dh wh. by fu eo Tee ne J PP TT. conlecel T ret , 8 4) 75 15 7 78 Ge. .te ¢ stb ,t1t Li y+ pot. Te, tb *Pxercises 73:84 should be counted one beat per measure using three pulses. You could be tested on some of these rhythms. 4 wasRHYTHM EXERCISE (for impulses ond 4 impulses) 85 86 87 88 89 90 91 92 93, Ne 95, 96 | 97 sr a fa) eels) — 101 y ] 103 2 pl me 108 q m0 mq mm 108 ay, 112, 114 us 16 scUEE Sse coe 113 petilnen nm >, fy ag DL EL Ne EDL NRIs FPS hg, Nay 157, 158 159 160, 161 162 163, 164 165 166 167 168 169 170 im 172 ‘These rhythm exercises are available on 35mm slides: Set #1 for measures 1-84, Set #2 for measures 85-172, 823 and Set #3 (Book II) measures 173-214. Available from Southern Music Co. 35SPECIAL SONGS FOR INDIVIDUAL PRACTICE Note: This is not a unison page. Songe will vary from instrument to instrument. Up On the Housetop America the Beautiful Red River Valley Battle Hymn of the Republic*EASTMAN SYSTEM OF COUNTING (Simplified) I. Notes of one or more counts Notes of one count (or longer) are counted much the same way as any counting system: simply say the number of the count on which the note begins and continue the word-sound for the duration of the note. Thus a note which receives one count and which begins on the first beat. of the measure would be counted “‘one” if it were on the second count, say “two,” ete. A note of longer value would simply be held longer; thus a whole note (in 4 time) would be counted “onnnnnnnnnnne” for 4 counts. This has the advantage of making the verbalization most nearly approximate the sound of an instrument playing the actual rhythm and requires the identical mental process of thinking the number of counts while a continuous sound is produced. The following example quickly illustrates Eastman Counting as applied to rhythms (including rests) of 1, 2, 3 or 4 counts. git ti. tds jd—p Jd tc 4 2 8 4 1-ununun dap ee | 38 4 9 1-unun II. Counting the sub-divisions Notes which receive less than a full count are divided into rhythms which are divisable by 2 and those which are divisable by 3 (some would say duple and triple rhythms). Again, any note which occurs on a downbeat is simply counted with the number of the count; the important difference is that a note which occurs the last ¥ of a count is counted “te” (latin, rhymes with May) and notes which occur on the second % of the count and last ¥ of the count are counted “lah” and “lee.” Rhythms which are divisable by 2 Rhythms which are divisable by 3 1 te 1 Jah lee IIL. Everything else is counted “Ta” 1 ta te ta 1 ta lah ta lee ta TTT 1 te ta 1 lah ta lee ta tt 1 ta lah ta lee 1 ta i ta lee lanation of this counting system, see Ear Training and Sight Singing Dictation Manual by Alan 1, *For the complete ex hed by Brentice Hall Mectlose, publist BarsDivision of Beat Book 1-A INSTRUMENTATION Conductor's Guide with cassette Flute Cornet/Trumpet/Baritone T.C. Oboe French Hom Bassoon Trombone Clarinet/Bass Clarinet Baritone B.C. Alto/Baritone Saxophone Tuba/Bass Tenor Saxophone Percussion/Mallets Book 1-B INSTRUMENTATION Conductor's Guide Flute Cornet/Trumpet/Baritone T.C. Oboe French Horn Bassoon Trombone Clarinet/Bass Clarinet Baritone B.C. Alto/Baritone Saxophone Tuba/Bass Tenor Saxophone Percussion/Mallets Book 2 INSTRUMENTATION Conductor's Guide Baritone Saxophone Flute Cornev/Trumpet Oboe French Hom Bassoon Trombone Clarinet Baritone B.C. Bass Clarinet Baritone T.C. Alto Saxophone Tuba/Bass Tenor Saxophone Percussion/Mallets RHYTHM SLIDES: Set 1 - for Book 1; Set 2 - for Book 1; Set 3 - for Book 2 ey SourtHern Music ComPANY 1100 BROADWAY # .0. BOX 229 © SAN ANTONIO, TEXAS 78282