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CLARINET SIGHT-READING by PAUL HARVEY STUDIO MUSIC CO. LONDON CLARINET SIGHT-READING by PAUL HARVEY Introduction ne canna avs to ceding exerises, because, once they've ben ployed they nt sgh ‘eating any mere. However, fhe beef canbe gained by pactsng them to see How jou might Ive layed bem perfecdy the frst ume by using the system which follows. The excreises ae loosely divided int igh grades, ul bear in mind thatthe grading ofthe ferent Examination Boards ott varies quite a1. The ‘est course sto practise up toa least one grate ahead of whichever exam you may be Working for Rhythm and Phrasing When contonted by a sight-reading passage, the fist sep isto SING the SHAPE oft. nan exam this will ‘be done mental, it practise by doing aloud: Nobody expects you tobe Domingo or Te Kanswa, jst sng (Be SHAPE! the ythm and the ups and downs. The imporant thing for a wind player isto sing the PHRASING, Don't use the consonants "La-La"; always equi singing with the way you tongue and slur on te instument, using the consonants "Ta-Ra thus: — TATATATA TARATARA TARARARA Sig. eine yuo te ig el furry ayy you up as up and down on your char, sway Your body, sap yoor Something physica wt et your hays Conduct wes DOWN, LEFT, RIGHT: UP forfour nt bar Thatta singing: Wl help ath yout aural ess as well (ear mind hat hes ae preparatory exercises to help you ee the rhythm, When Soustaly ply, ony a dscet twisting of the bg tne inside shoe or « mocate ovement of he body iStahance te expresveness of your pang is enitle) | todd dst dare T234 T234 ‘Keep this going while you sing the shape ofthe passage onthe next page: © 1996 Studio Music Company, 77-79 Dudden Hill Lane, London NW10 1BD, England Mira Ce Ming

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