edhe Roma =) Ome) | mma : | i GREW ey ; MGA a Ge PG seme es a esi aU Mae OR INDIVIDUAL LESSONS : oats PAULH Hal i ae RI Ws &- PUPIL’S DAILY PRACTICE RECORD Pupil fills in number of minutes of daily practice. Parent signs initials in space designated as certification of pupil’s record for the weel Teacher fills in grade for quality of each week’s work as shown by the lesson. Teacher signs initials. E = Excellent; G = Good: M = Medium, Distinctly Above Passing; L = Low, Lack of Effort; F = Failing. FIRST SEMESTER SECOND SEMESTER eat Pan] Beay [eee Week| mtn. | ruen| Wed. [tars] net. | sate | RARE? week | mon,| rues wes. {ruc ret | sae. | aiebis | Bessy | Teese 1 t 2 2 3 3 4 4 3 5 Ist TEST GRADE Sth TEST GRADE 6 |. 6 7 7 8 8 9 9 10 10 ‘2nd TEST GRADE 6th TEST GRADE " . n 2 2 8 8 “ “4 15 15 ‘3rd TEST GRADE ‘7th TEST. GRADE 6 6 7 7 8 18 1” 7 9 20 20 FINAL GRADEFOREWORD TO TEACHERS JN compiling this course the obectve has intentionally ~ A been not to cover too much ground; but rather to con- centrate on the acquisition of a thorough musical back- ground and a solid foundation in good horn playing. These two requisites are inseparable. A brief section is devoted to the simpler rudiments of music which should be thoroughly understood as the need arises. ‘The learning of new fingerings as introduced should be insisted upon. Cultivate in the pupil the habit of careful listening. ‘The familiar hymns and folk-songs have been selected because of their melodie interest as pieces, and because, in addition, in each appears some technical’ point to be mastered. ‘The value of learning to “think count” from the very beginning cannot be overestimated. Only in this way can a pupil sense rhythm. Rhythm, one of the most essen- tial elements of music, and usually conspicuous by its absence in amateur ensemble playing, is emphasized throughout. Many teachers do the thinking for their pupils, instead of helping them to think for themselves. Insisting upon the mastery of each point will not dull their interest. Lessons marked, “Supplementary Material” may be given as a reward for well-prepared work. Class teaching should be a combination of individual instruction and ensemble playing, At every lesson there should be individual playing so that all the necessery eortections can be made. Never allow pupits’ mistakes to.go unnoticed, since only in constant correction will they develop the habit of careful thinking and playing. A decided advantage of group-teaching is that it pro- vides experience in ensemble playing and gives every pupil the opportunity of listening to the others, of observing their mistakes, and of hearing the corrections. For the best results each class should not be made up ‘of more than six for'a half-hour lesson, and twelve for an hour lesson. Irrespective of the mumbers, the teacher must see to it that there is individual instruction as well ‘as general directions to the class. Classes should be regraded whenever necessary so as not to retard the progress of the brighter students nor to discoutage the slower ones. It also acts as an incentive for greater effort on the part of the pupils. ‘The lip slurs on’ page $2 should be used whenever necessary according to the individual students require- ments. The tests, following each eight lessons, are given as a definite check on the pupil's progress of knowledge and accomplishment. These tests are most important and should not be omitted. ‘The eventual success of each pupil depends on the regular and careful home practice, according to directions: If possible it would be well for the teacher to keep in touch with the parents. This course provides one lesson a week for a school year. . C. PAUL HERFURTH VERNON R. MILLER NOTE: THOSE TEACHERS WHO PREFER G AS THE STARTING NOTE MAY BEGIN ON PAGE 8, LESSON 8B, NO. 14-15-16-17, THEN GO TO PAGE 7, LESSON 2A, NO. 7-8-9-10, PAGE 6, LESSON 2, NO. 1-2-8-4, PAGE . 5, LESSON 1A, No. 6~7-8-9-10 AND PAGE 4, LESSON 1, NO. 1-2-4, AND PAGE 5 NO. 5. RUDIMENTS OF MUSIC : ‘Miusic is represented on paper by a combination of characters and signs, all of which itis necessary tolearn in order to play the cornet intelligently. Characters called notes are written upon and between five lines ‘The character The staff is divided by bars into measures as follows: Ber which is called the staff. Placed at the beginning of the staff is called the treble or G clef. Bar Bar ‘These measures, in turn, are equal in time value, according to the fractional numbers, (Time signature) placed at the beginning of each piece. BM, Co, 1910 LiltRUDIMENTS OF MUSIC (cont.) ‘The time signature indicates the number of notes of equal valuein each measure. The upper figure gives the number * of beats or counts in a measure, and the lower figure indicates what kind of a note has one beat, such as 4 or G equals & four quarter notes or the equivalent #54 half note and two quartersin each measures e ‘a in notes; ete. F equals 2 quarter notes: canals 4 cig ‘There are different kinds of notes, each variety representing a certain time value as follows: 723 A tees 1 2 8 & T&R ERB4E Whole Note equals, Two Half Notes, Four Quarter Notes, or Eight Eighth Notes. ‘The count for the above would be, four to the whole note: two to each half note: oue to each quarter note and one to each group of two eighth notes. ‘The notes are named after the first seven letters of the alphabet, i.e. (a, b, ed, e, f, g,) according to the line on or space in which they are placed. ‘The G clef which encircles the second line, establishes the note G on this line, from which the other ines and spaces are named as follows: 2 oe —— —— 7G A B C D E F G@ @ F E D In addition notes are written upon and between short lines above and below the staff. ‘These lines are called ledger ines, = c os Ss B A od! Hvery Good Boy Does Finely F-A-C-E ‘A rest indicates e pause, of silence for the value of the note after which it is named, such as ‘The end of the piece is indicated by a light and heavy line & = == || ‘When a section or part of a piece is to be repeated it will be shown by a double bar with two dots. B.M.Go, 11910- liv]ATune a Day A First Book for French Horn (F and B}) or Eb Horn (Mellophone) By C. Paut Herrurtu and ‘Vernon R. Miter Copyright MCMLIV by Boston Music Company BOSTON MUSIC COMPANY BOSTON, MASS.CARE OF THE INSTRUMENT Your hom will not sound its best, nor will your learning to play it be as easy, unless everything pertaining to the instrument is kept in perfect condition. VALVES: The fingering mechanism for the horn is more varied’than any other brass-wind instrument. Have your teacher show you how to disassemble, clean, adjust and reassemble the particular type of mechanism on your horn. TUNING & VALVE SLIDES: These slides, as well as the valve caps, should be greased with a little vasoline to keep them free. ‘Try them twice a week. MOUTHPIECE & TUBING: Unless you glean the inside of your instrument, a coating of saliva will form which will greatly interfere with its playing qualities. At least once a week run lukewarm soap suds through your instrument. Hold the valves down while pouring water into the bell. Be sure to rinse with clear warm water. ‘Take pride in the way your instrument looks by keeping it bright and clean, FAILURE ON YOUR PART IN FOLLOWING OUT CAREFULLY THE ABOVE INSTRUCTIONS IN REGARD TO THE CARE OF YOUR INSTRUMENT WILL RESULT IN EXPENSIVE REPAIR COSTS. No student should attempt the study of an instru- ment without the aid of a competent instructor for that Particular instrument, Embouchure: There are two accepted types of French. ‘Horn embouchure; the “set in” type and the “set on” type. ‘Those illustrated are the “set on” type. Your teacher will use that which will be most suitable for you and/or the type which he is most suecessful with. Pictures posed by Robert Handy; East Orange, N. J. B.M.Co.11910- fv]FOREWORD TO STUDENTS (cont.) TECHNICS ‘The most important technies for wind instrument players are as follows: (1) Developing and strengthening the lip muscles. (Process) Playing of long sustained tones and lip slurs. (@) Developing clarity and precision in attacks. (Process) Proper use of the tongue. (8) Developing a fine quality of tone. (Process) A combination of No. 1 and careful listening. (4) Developing fluency in fingering (Process) Playing of scales and arpeggios in various keys. (5) Developing a mastery of the entire range of the instrament. (Process) A combination of all of the above. METHOD OF HOLDING THE FRENCH HORN ‘The french horn is supported in three ways: (1) by the right hand which is placed inside the bell (see Fig. 1); (2) the bell which rests on the inner aspect of the thigh of the right leg (see Fig. 1); (9) by the left hand. Place the palm of the left hand so it rests on the large tubing opposite the valves, put the little finger in the finger ring and the thumb under the ‘small tubing which leads to the mouthpiece. When the little finger and thumb are in place, arch the other fingers slightly. and let them rest in position on the levers (see Fig.2). The first Singer for the first valve (acarest the mouthpiece) marked (1); the second finger for the second valve marked (2); the third finger for the third valve marked (3). Correct Sitting Position Correct Standing Position B.M.Co, 11910- {vi}- “Reference Fingering Chart for F Born Correct fingerings for all natural tones within the normal range of the F horn. The notes within the bracket indicate the range used in this book. CDEFGABCDEFG ABCDE FG of fs 0 ba 0 geo 2g Asread and played for F horn sey Actual pitch for piano FGABbCDEFGABbC*DEFG ABC ENHARMONIC TONES: Notes that sound the same, and are fingered the same, but are written differently. Those most frequently used are the following: c c# pb D DH Eb E F FH Gb & = wie F : E F FH Gb G Gt ab A a# Bb B c cH pb D pH Eb E FFF Gb G Copyright HCMLIV by The Boston Music Co. International Copyright Secured B.M.Co. 11910- Printed in U.S.A.Reference Fingering Chart for Bb Born Correct fingerings for all natural tones within the normal range of the Bb horn. The notes within the bracket indicate the range used in this book. CDEFGABCDEFG ABCDE FG 14 14 4 4 7 33 $2 2 0 2 20% 2 o As read and played for Bb horn = Actual pitch for piano FGABbCDEFGABbC DEFGA BC ENHARMONIC TONES: Notes that sound the same, end are fingered the same, but are written. differently. Those most frequently used are the following: c cH Db D DH Eb E F FH Gb 6 fe bo Bb B c cH Db D Di Eb E F FH Gb G B.M.Co. 11910-’ “Reference Fingering Chart for E> Horn (atettophone) Correct fingerings for all natural tones within the normal range of the Eb horn. The notes within the bracket indicate the range used in this book. GABC EF G AB CDEF€E 3 20 f+ 0 3 9 ° 2 2 Hh eos As read and played for Eb horn Actual pitch for piano Bb oC D Eb F G Ab Bb € D EDF G A Bb ENHARMONIC TONES: Notes that sound the same, and are fingered the same, but are written differently. Those most frequently used are the following: G ct Ab A AH Bb B c = fe , b= = te : ° i 3 a cH = Db D pt Eb E F FH Gb ch Db D DH Eb E F FH Gb G B.M.Co. 11910-4 _- A TUNE A DAY LESSON 1 OBJECTIVES: 1. To learn the correct habits of (a) Holding the French Horn or E flat Horn(Mellophone). (b) Position of mouthpiece “set on” or “set in”, 2. To correlate the valves of the horn with the notes on the staff.C-D 3, To know the value of half and quarter notes and rests. 4. To know the meaning of the repeat sign. 5. Answer all questions and do homework. HALF (2 Count) NOTES and HALF (2 Count) RESTS : F Hora Played open, no valves. Introducing 1st ledger line Play C as long as possible. Do this below the staff C. many times. Think of a straight line Biflore © eben SM4LEF to make the note(piteh) stay ‘This note is C andis played open.No valves. ALY ans @® Think Count: 1234 REPEAT This note is_and is played__? ® Think Count: 12 34 QUARTER (1 Count) NOTES & and QUARTER (1Count) RESTS =a QUARTER REST ® ThinkCount:1 2 3 4 ‘Those are———-notes and reccive count? @ ThinkCount: 1 2 3 4 B.M.Co. 11910-a LESSON ta 5 Half and Quarter Notes ® Think Count 224 1234 1234 F Horn Play D as long as possible. Do this many times. Think of a straight line and try to make Bb Horn Q the note (pitch) stay on the line. Eb Hora Introducing ist space below the staff D ‘This note is and is played with the VALVE ON THE F HORN VALVES ON THE Bb HORN VALVES ON THE E} HORN Think Count:12 34 1 @ Think Count:1 23 4 Think Count:1 2 3 4 These are notes and receive ® Think Count:1 23 4 1284 ‘ Numbers {1 and 12 are to be used only if C has been used as the starting note. Little C and D March ® Think Count:1 2 3 4 ® Fome work: Write a line of quarter d)and half(d)notes using C and D. Mark the letter name above and the fingering (valves used)below each note. B.M.Co, 11910- Tome work:6 7 LESSON 2 OBJECTIVES: 1. Continuation of the objectives of lesson 1. 2. To learn the names and fingerings of the new notes E-F-G. 3. To learn the meaning of the breath mark(?), 4, Answer all’ questions. F Hora Play E as long as possible. Do this many times. Think of a straight line and try to make the note (pitch) stay on the line, Introducing ist line E aC fora” (2) Ph Horn Horn Preparation ‘This note is E.andis played with the ——VALVES ON THE F HORN VALVE ON THE Bb HORN ——VALVES ON THE Eb HORN ® Think Count: 123 4 These are. notes and receive. counts? ? 2 2 ® Think Count: 1234 @ Think Count:1 2 3 4 @ count? notes and_rests and each receive ? Numbers 5 and 6 are to be used only if C has been used as the starting note. Thi » isi ote ® Think Count:1 2 34 Melody @ Think Count:1 2 3 4 B.M.Co.11910-aan LESSON 2a F Hors Play Fas long as possible. Do this many times. Think of a straight line and try to make ° the note (pitch) stay on the line. Bb Horn 9 On y Introducing tst space F CDEF Preparation This note is Fand is played with the VALVE ON THE F HORN VALVES ON THE Bb HORN SVALVE ON THE E+ HORN @ Think Count: 1 2 34 ‘These are. notes aad receive counts? > Think Count:1 2 34 Think Count:1 2 3 4 These are. notes and. reats aad each receive, count? Numbers 11,12 and 18 are to be used only if C has beenused as the starting note ‘This note ® Think Count:1 2 34 Melody Think Count: 1 2 34 Melody @ Think Count: 1 23 4 B.M.Co. 11910-LESSON 2b F Horn Play G as long as possible. Introducing 2nd line G Do this many times. Think of a straight line and try to make Bhilom yu, the note (pitch) stay on the line. CDEFG Preparation ae , This note ie Gand is played with the VALVES ON.THE F HORN VALVE ON THE Bb HORN VALVES ON THE E> HORN Think Count;1 2 34 ‘These are. totes ana receive ae oa eee Think Count:1 2 34 Think Count:1 2 8 ‘These are. counts? a notes and rests and each receive—__ count? ® 2 Numbers 18, 19 and 20 are to be used only if C has been used as the starting note. ‘This pote 2 is? @ Think Count:1 2 34 Melody Melody Beethoven Think Count:1 2 3 4 B.M.Co, 11910-. LESSON. 3 9 OBJECTIVES: 1, To learn the meaning of the TIE. 2. Application of pre-kiowledge in playing familiar melodies. 8. Home work. Tied Notes When two notes on the same degree (line or space) of the staff are joined by a curved line (<>), they are to be played as one note, adding the value of the two notes together ® Think Count:1 23 4 ® Think Count: 23 4 ® Think Count: 23 4 @ Think Count: 2 3:4 © - Think Count:1 2 34 Rest Rest Mary had A Little Lamb 2 2 2 Melody Jingle Bells Lightly Row ’ 2 Think Count:1 2 34 Homework: Fone work: Mark the fingering above, and the letter names below all notes in exercises 2, 4,5 and 6. On the staff above write aline of notes you have studied so far. Divide into measures using half and quarter notes. B.M.C0. 11910-a el LESSON 4 OBJECTIVES: 1. To learn the value of a whole note. 2. Comparison of different note values. 8. Playing easy duets(both parts). 4. Rhythm practice. 5. Questions and home work. notes and receive counts? Nore wHoLe 2 REST = Think Count: 2 34 ase . = Think Count:1234 Different Note Vaiues It is not necessary to play exercise 3 in the order written. Start atthe different letters so you are able to hear and sound any note. ‘This note is? @rs = Think Count:1234 1234 1284 128 4 @™m note is__? \Phis note is? ®t note is__? ®@THis note in? Duet (Two Parts) Pupil ® Practice |both parts| 2| Pupil Duet Pupil Pupil = — = Rhythm Drill Home work: = Home work: Before playing No.6 write in the counts. Be sure to putthe number of the count directly below the note or rest to which it belongs. B.M.G0. 11910-. LESSON 5 " OBJECTIVES: 1. To learn the meaning of the sharp sign(#). 2. To learn the name andfingering for first space F#. 3. To learn the meaning of the natural sign(}). A SHARP SIGN(#) RAISES THE NOTE TO WHICH IT APPLIES BY ONE-HALF TONE. A NATURAL SIGN(4) TAKES AWAY THE EFFECT OF A SHARP OR FLAT. F Horn 2 SbHorn } w@ Eb Hora, NEw ® Think Count:1 2 3 4 This cote Think Count: 1 2 34 Think Count:1 2 3 4 Notice the F#f at the beginning of pieces 4 and 5B. This means that every F throughout the piece will be played sharp. Folk Song This note @ Think Count: 1234 Melody XO SHARP ® Think Count: 1 2 34 Melody Marching The F’s 2 B.M.Co. 11910-12 LESSON 6 OBJECTIVES: 1. To learn the name and fingering for second space(A). 2, Interval and rhythm practice. 3. Application of pre-knowledge in playing ! familiar melodies. + F Horn 3 Introducing 2nd space A Bh Hora 4 () Bb Hora xew Nore ® Think Count: 1254 rain ® Think Count: 1234 Oats and Beans ® Think Count: 1 234 Theme From Good King Wenceslas “> 2 @ Long, Long Ago THIN — = Folk Song Some horn players and teachers prefer to play A with the 3rd finger onthe F Horn. On some horns the 8rd finger F is in better.tune. It may also be used to facilitate fingering in rapid passages. 2.M.Co. 11910-. LESSON 7 18 OBJECTIVES: 1. To learn to listen to a harmony part, 2. To learn to release and attack notes together. 8. Motivation. Upidee Pupil Pupil Upidee Pupil Pupil We Two va. vo amane : Pupil Think ® [4 Count: Pupil Au clair de la lune 2 Pupil Pupil BLM. Co.11910-7 Lo LESSON 8 OBJECTIVES: 1. To learn to connect notes (slur). 2, To learn the meaning of an accidental note Melody Rousseau Vo So Abide With Me Monk The F# in the seventh measure is called an accidental because there are no sharps at the beginning of the piece. ® 2 2 2 Lightly Row 2. B.M.Co, 11910-Supplementary Material for Lessons 1 Through 8 Twinkle, Twinkle Little Star The Boat Song opal. 2 Melody French Folk Song B.M.Co. 11910-7 TEST QUESTIONS THROUGH LESSON 8 Questions from this, and following test-sheets, will be given as a check onyour home-study of preceding lessons. REMEMBER: The more you know and understand about the signs and symbols used in music- writing, the easier it will be for you to learn how to play well, Your sof Points score ® this =] is caltear_z i ) 4 : Ls (2) This symbol = is cone Lebel ce 4 (3) The staffis divided py bar-lines into?_AcaddA tv 4 (4) Fractions at the beginning of music are called-Zzuue_ signatures? 4 isa note, and has 4 counts? 4 + sxe Lhffnores and have counts each? 4 are tes and have_/ count each? & = __ (5) This (6) These (7) These S5555 (8) Lines and spaces are named after the tirsi_Z eters ofthe alphabet? 4 ___ () This 3 =I is a eb ross? 4 hire 4 are GP rests? 4 moans #A-tEE 10 each measure? 4 (13) This fis a? ow does it effect a note?. 2 (ia) This his a? yw does iteffectanoter___________=s‘ 3 anon a, a (140) These (11) ‘These (13) This (15) A curved line joining two notes of the same letter name is called. (16) A curved line joining two or more notes of different letter names is called____? (17) Write (notate) the notes thus far studied, x (18) Write the letter name above and the fingering below the following notes: 8 49) Sight reading test 8 TEACHER: Write line of notes thus far studied, using whole, half and quarter notes as a sight reading test. (20) Inspection of instrument. 20 This inspection should be followed up at each test period. 100 B.M.Co, 1910~ar LESSON 9 17 OBJECTIVES: 1. To learn the name and fingering for third line B flat 2. To learn the meaning of a flat(b) 8. To learn the meaning and use of key signatures. FHiorn 4 Introducing 8rd line Bb S A FLAT SIGN(b) LOWERS THE aa NOTE TO WHICH IT APPLIES BhHore “Ey Hora BY ONE-HALF TONE. KEY SIGNATURES: The sharps or flats found after the clef at the beginning of each Line is called the key signature. Those sharps or flats effect all the notes of the same name through, out the piece, except when changed by a new key signature or temporarily by an accidental, THE FIRST THING YOU SHOULD LOOK FOR IS THE KEY SIGNATURE, THE SECOND THING, THE TIME SIGNATURE. The flat sign(b) placed on the third line of the staff, just after the clef sign, means to flat every B, except where cancelled bya natural sign(}). KEY OF F, ONE FLATID) 2 2 ® Think Count: 1294 ¥Ey, ® Think Count: 1234 ® is note Yankee Doodle 2 @ Think Count: 1 23 4 Folk Song Key of Flat is? Think Count: 1234 Song of the Volga Boatmen 2 ae Rhythm Drill Home work: Before playing No.7 write in the counts. Be sure to put the number of the count directly below the note or rest to which it belongs. B-M.Co. 11910-18 - LESSON 10 OBJECTIVES: 1. To learn the name and fingering for third line. B(natural). 2. Continued emphasis on rhythm and fingering 3. Practice in recognizing key signatures. 4, Playing of duet with independent parts. F Hora Introducing 3rd line By 22) Bb Horn "Bora new Nore 2 ® Think Count: 1 234 ® Think Count; 1 234 ‘ This note Key of sharp is__? is? @ Think Count: 1 23 4 Folk Song ® Think Count: 1 23 4 Harvest Time C.P.H. Key of © (No flats or sharps) Think Count: 12 2 4 2 Rhythm Drill Home work: Key of flat is__? @ Home work: Before playing No.7 write in the counts. Be sure to put the number of the count directly below the note or rest to which it belongs. B.M.Co. 11910-19 Hymn ‘This time signature means counts in each measure and a—note receives__couat 7 THINK > Think Count:1 2 3 4 2 Twinkle, Twinkle Little Star ‘This time signature means_couats ie each measure and a—aote receives count. , THINK 2 Duet V.R.M. 2 2 Pupil Think Count: Pupil eS FE IOS UP BEAT: Many pieces begin with an incomplete measure, usually starting with the last beat or fraction thereof. This is called the up-beat. The ending always completes the measure of the up-beat. Hymn op urar Haydn Key of _? 7 “ The Boat Song Koy of sharp is? 2 2 ® B.M.Co, 11910-i : LESSON ii a OBJECTIVES: 1. To learn the name and fingering for third space C. 2. To know the formation of the natural scale, (Placement of whole and half tones). 8. Playing the C scale from memory. 4. Continued key practice. LF Hora ° 4 Introducing 8rd space C oo xew Bh Horn” 2h ora ® The Scale | A scale is a succession of tones froma given note (key note) to its octave, 8 notes higher. The form on which all major scales are modeled is as follows: The Natural, or C Major Scale “PYinoue rowny W.T. 5 sane rox, W-T. 5 W.T. 6 WT, HT, ‘The ascending progression is: two whole tones, one half tone, three whole tones, one half tone, The half tones come between the numbers 8-4 and 7-8. @ 2 2 Hymn Key of. Time sig. 2 ® ‘This gote is? y = cS = Skip to My Lou 2 2 Folk Tane Key of flat is Hymn Key of sharp is? Time sig.is—_? Haydo @ BLM. Co. 11910- UP BEAT_ LESSON 12 at OBJECTIVES: 1. To learn to count and play eighth notes in 4 and 2 time. 2. The playing of eighth notes in familiar and unfamiliar melodies. Eighth Notes An eighth note is equal to} of a quarter note, and receives } of a count in for 2 time. Two eighth notes equal one quarter, or one count, four eighth notes equal one hal! note(2counts) and eight eighth notes equal one whole note (4.counts ). BE SURE TO LEARN THE RHYTHM DRILLS THOROUGHLY (learn to feel the division of the beats) BEFORE PLAYING THE MELODIES. THIS IS IMPORTANT. ® This Comparison of 4with 3 time. 4424/3 4 C 424 a4 @Count: 128 B 248 a2a[8 4 [4 2]84a40 Equals D ® This 12aa2 142412 Upidee t2atee [Wote time signature] 124at2 42 taze 2 ® Think Count: Jolly Old St. Nick 2 2 Think Count: 1 4 2 ¢@ Long, Long Ago , 2 © ThinkCount: 126344 ® Think Count: 1 2 34 Old English Song 2 Jingle Bells 2 2 Think Count: 1 « 2 B.M.Co. 11910-22 There’s Music In The Air Root up pear @ Think Count: 4 Song Of The Volga Boatmen Key of sharp is__? a 2 2 , Think Count: 14234 Polly Wolly Doodle Duet Key of tat is__? UP BEAT ’ Pupil Pupil Peasant’s March Senubert Home work: Write in the counts before playing Think Count:1 «241 2@ SI Theme From Symphony No.1 vp sear > > Brahms, Home york: Fome work: Write a line of notes thus far studied using half, quarter and eighth notes in 2 time. BM. Co, 1910-LESSON 13 aa OBJECTIVES: 1. Learning new rhythm—3 time—with emphasis. on rhythm drills. (A-B-C etc.). 2, Use of dotted quarter and eighth notes. (Ex. F) 3. Thapplication of pre-knowledge. The Dotted Half Note and the Dotted Quarter Note A dot is equal to one half the value of the note it follows. A dotted half note equals 8 beats, a dotted quarter note equals 1} beats. Written Played © Written Played Rhythm Drills DRILL: Count aloud each variation, A-B-C etc. while clapping the hands once for each note until the rhythms are felt and memorized, then try to play them using any single tone. When this can be done freely, play the exercises as written. REMEMBER—Rhythm must be felt before it can be played. @ @ Combination of Rhythms in $time Home work: Write in the counts before playing. ® B.M.Co. 11910-24 ot LESSON 14 OBJECTIVES: 1. Application of 3 and 2 rhythms in familiar melodies of different keys. Continued use of rhythms learned in Lesson 18. ~ Knowledge of the fermata. Motivation (This lesson will ordinarily come about Christmas time in the school year and consequenly meet the interest of the pupil), 5. Knowledge of terms used for tempo(speed). We Three Kings of Orient Are Moderate speed (Moderato) Key of _flatis__? Time sig. is? Per ® Think Count: 1 2 3 noLD 2 aA? Good King Wenceslas Key of sharp is? Time sig.is__? 2 > ® Think Count: 1 « 2 @ © Come, All Ye Faithfal Moderato 2 ® F- Think Count: 4 1234 : 2 Ge The First Noel With motion (Con moto) Key of _? Time sig-is—2 @ Think Count: 34 12436 2 *A) Hold (fermata) A short curved line drawn over a dot, prolongs the time of the note. B.M.Co. 11910-- LESSON 15 ia OBJECTIVES: 1. To learn the name and fingering for low B, second space below the staff. 2. Continued use of the rhythms learned in Lesson 13 with special emphasis on the dotted quarter note followed by an eighth note. Horn Introducing Low B, 2nd space below the staff. BbHorn 2(2) EbHorn new Nore ® Te Deam Moderato ® America Rather slow(Andante) Think Count: 1 28 12 4 3 Deck The Halls Brightly (Allegretto) @® ‘Think Count: 1263 4 Theme by Haydn Moderato ® Think Count:12¢3 4 B.M.Co. 11910-i - LESSON 16 OBJECTIVES: 1. Continued emphasis on the dotted quarter note followed by an eighth note. 8 2. Practiceusing the after beat in 4 rhythm.(A duet is used to emphasize this objective). 8. Practice using the after beat in Common time or 4 time. (A duet is used to emphasize this objective). College Song Moderato Key of sharp is? ® Think Count: 12 « 12 « 2 German Waltz Duet ® Waltz tempo (Tempo di valse) Pupil : Think Count: 1 2 3 Pupil 1238 APTER BEATS Anvil Chorus Duet © Brightly (Allegretto) Verai Pupil Think Count: 12344 Pupil 1234 APTER BEATS B.M.Co. 11910-27 Supplementary Material for Lessons 9 Through 16 Melody Andante Beetham oe Hymn Nore kay stoxaroaE F.Kucken Moderato ® Listen carefully to the intervals (distance between the notes), Massa’s In The Cold, Cold Ground Andante Stephen Foster @® My Bonnie “ ollege Son Tempo diValse is? is 2 Bb Major Scale 2 2 @ Allegretto French Folk Song Key of flats are__+ ® Think Count: 1 23 Blue Bells of Scotland Moderato 7 eee TTT Pupil EF we agreat Pupil ®@ B.M.Co. 11910-ad 7 LESSON 18 OBJECTIVES: 1. To learn the name and fingering for low A, second ledger line below the staff. 2. Playing of duet using eighth note after beats in 3 time. 8. Playing of duet using quarter note after beats in 3 time. 4 4 Introducing 2nd ledger line below the staff A. rw new NOTE © Think Count: 1234 oP. Melody This goto ® Crusaders Hymn Majesticly (Macstoso) > ® — Little Brown Jug Allegretto (Duet) Key of —flatis__? Tinie sigvis__?_ Pupil Pupil Folk Song 2 Theme from The Skaters Waltz Waldteufet Tempo diValse ; B.M.Co. 11910-7 LESSON 19 81 NEW NEW NEW NOTE NOTE NOTE NEW . ° 2 Nore 3 G 3 4 a2) Ya a) 3@ 3@ 4) ENWARMONIC TOM new New NOTES SOUND THE SAME New NOTE wore. xe Nore. 4 rH 4 3 a 2, 2 12) doy ‘at 3@ Qs 4) ENWARNONIO TONES new. NOTES SOUND THE SAME xew aw aay nore yew, Note 3 3 3 4 ® 28) 22) * ENWARMONTC TONE: 5 NOTES SOUND THE SAME Chromatic Scales The word “chromatic” means moving by half steps. A chromatic scale is one that ascends or descends by half steps. © ® © @ If you can’t spell a word you can't write it. If you cam't spell(recite) a scale you can't play it, Learn to recite all scales before playing. Scale of G (FH) Scale of A (F#, c#, ef) B.M.Co. 11910-i - Lip Slurs “OBJECTIVE: Application of proper use of lip muscles and breath support. this lesson is to be used as the need arises. The following are suggestions. The teacher should suggest vi jatterns of lip slurs to fit the needs of the individual student, @s @: © @: ®. ———— oO: B.M,Co. 11910-- LESSON 20 hi OBJECTIVES: 1. To learn the name and fingering of fourth line D. 2, Further practice using dotted quarter notes followed by eighth notes. 8. Playing of duet in which melody line changes from one part to another. ° Introducing 4th line D = i) i xaw » Xo » ® Koy of. sharp is This, note © Moderato Auld Lang Syne Key of —fat is? : ® Think Count: 4 12434 All Through The Night Andante oe) ; Pupil 2 Think Count: 12 Pupil 2003 4 Augustin Tempo di Valse . @ Think Count: 12 434 B.M.Co, 11910-aa LESSON 21 OBJECTIVES: 1. To learn the key of D major (F# and Cf). 2. To learn the keyof A major (F#, C# and Gt) D Major Scale (r#, cf) new NOTE ce 2» 3@) Theme from The Second Symphony J Hayda Key of sharps are__? F.J.Haya > NOTE 2 Ew 2 ® Think Count: 1234 2 Evening Song Schumaon 2 ? A Major Scale (F#, c# at) 3 @ 2) Duet Hohmann Key of sharps are___? This pote ° THINK is? ® Think Count: BLM. Oo. 11910-Supplementary Material for Lessons 17 Through 21 7 Duet C.von Weber Andante > > 7 Oh! Susanna Allegretto : Stephen Foster ® Ses] Now The Day Is Over Barnby ‘ Andante 2 Pupil Pupil My 01d Kentucky Home A eophes-sostel Andante ® B.M.Co. 11910-ae ie LESSON 22 OBJECTIVES: 1, To learn a new rhythm. 2. Understanding Alla breve(cut time) (time). Comparison of @ with 2 time Think Toea|s aes Rhythm Drill Drill: Count aloud each pattern while clapping the hands once for éach note. REMEMBER— Unless you feel a rhythm you cannot play it. Play the C scale, using these’ patterns until the rhythms are memorized, © . B) ete, ete, Think Count: 1 2 1 2 ete, ete, 1 2 1 2 1 2 1 2 There's Music in the Air* Compare the measures of this song with @,©,@,@ above. © Root 2 © Think Count: 1424 *Comparo with the same song in 4 time, page 22, exercise 7. B.M.Co, t1910-- LESSON 23 87 OBJECTIVES: Further practice using cut time. Caisson Song Maj, BL. Graber March Tempo(Tempo di marcia) ; 1 Theme by Haydn 2 sy Official Soug of the Marine's Hymn V.8: Marine Gorpe Tempo di Marcia 7 1 B.M.Co. 11910-38 , ++ LESSON 24 OBJECTIVES: 1. Continuation of Alla breve (cut time). ‘The playing of a full length march. Application of pre-knowledge Knowledge of the meaning of this sign (7). Knowledge of signs indicating volume of tone (dynamics). ga epe Advancement Marech* In March time (Not too fast) OPH. F loudly) anf (medium loud) A. Omit 2nd time 2 4 SWoudiy) (EOmitandtime WR SS—SSC*~ié‘d eS Trio Note key change irk time 8 PS id ne kay Repeat to Frio WB t * All marches generally consist of an introduction, Ist and 2nd strain, each repeated, followed by a Trio. The key of the Trio is always a fifth lower than that of the first part. ‘**This sign % means to repeat the preceding measure B.M.Co, 11910-wo (a) 3) () (8) (8) @) (8) (9) (10) ap a2) (43) (aa) (15) (16) a?) TEST QUESTIONS THROUGH LESSON 24 Write (notate) the B flat Scale? Points 10 On the scale above, write the name of the note above andthe finger- 5 ing below? The name ofthis note 3 is? ‘The name of this note is?. The note in No. 8 is played with the __ valves? The note in No.4 is played with the______ valves? What is meant by enharmonic tones? Notate the enharmonic tones of the following notes. = ee What is meant by chromatics?. Notate the scale of G major? Notate the scale of D major? Notate the scale of A major? This sign ¢ means.. A half note receives count in cut time? Divide the following into measures? This sign % means, Sight reading. TEACHER: Write line of notes in cut time. B.M.Co.11910- tw 19 10 10 © II 39 Your II |40 - LESSON 25 OBJECTIVES: 1. To learn another new rhythm. 2. Knowledge and use of § rhythm. 8. To learn to count slow and fast § rhythm. 4, Application of new rhythm in familiar melodies. ® Think Count: ® Think Count: Think Count: ® ‘Think Count: © ‘Think stow 1 2.2 4 5 € Row, Row, Row Your Boat Key of__? Tee ig ® Think Count: 1 2 1 4a 2 2 Oats and Beans Key of flat is__? Time sig. is__? 2 THINK 2 Think Count: 1 2 Mulberry Bush Key of sharp is? Time sig. ip? 2 THINK @ Think Count: 1— 2— Home work: Home work: Write line of notes, using different rhythm patterns in 6 time. BM, Co, 1910-Sweet and Low Andante Think Counts 135 458 an —_ =—=_——___ Rely louder gradually Tipton 2 7 nf Theme from Overture to“Semiramide” Andante = mp (medium soft) —p G.A. Rossini ® Think Count: i23456 SS = ——_ Drink to Me Only With Thine Eyes Andante Old Baglicn Air Key of. sharps are___? [a ™P (medium soft) Think(Count: 1 2 3 4 5 6 gradually 8ofte * rit.(slower) _and softer * rit.- abbreviation of ritenuto~gradually slower in speed. B.M.Co. 11910-a2 LESSON 26 OBJECTIVE: Continued practice in fast . Barearolle Moderato in2 ® Funiculi-Funicula (Duet) Fast with spirit (Allegro) ® St Trio of Progress March OPH; Tempo di Marcia 2 2 rs B.M.Co, 11910-- LESSON 27 a OBJECTIVE: Playing of duet in fast § with melody line and characteristic horn march part. Trio of Our Director March Duet FE. Biglow March time aff B.M.Co. 11910-aa a LESSON 28 OBJECTIVES: Learning the use of sixteenth notes. (a) Equivalents (b) Counting sixteenth notes Sixteenth Notes A sixteenth note = is equal to half the value of an eighth note ‘Two sixteenth notes equal one eighth notedd-d)and four sixteenth notes equalone quarter notededd=J Abbreviations for sixteenth notes 2: dd: Comparative table showing number of sixteenth notes to other notes studied thus far. Note time [signature 1 @ 2uheun Note time {signature 1 aeunz aun Note time |sigiature tune Zune Mac Donald's Farm of — sharp is Key of —sharp is? : ® Home work: Home work: Write a line of notes, using different groupings of sixteenth notes in 2 time. B.M. Co, 11910-- LESSON 29 a5 OBJECTIVES: 1. Dotted eighth and sixteenth notes legato. 2. Correct division of each beat. 8. Application of new rhythm. Dotted Eighth and Sixteenth Notes Legato (Connected) This is one of the more difficult rhythms to learn. The dotted eighth note is equal to three sixteenth notes Always feel a division of four. and one on the sixteenth ach beas when playing this rhythm, three on the dotted eighth BE SURE TO PLAY THE DOTTED EIGHTH NOTE LONG ENOUGH AND THE st NOTE SHORT ENOUGH. @ ears , ® Think/Count: 124 saa) 124344 56478 a ‘ argo ‘New World Sym; tony) Duet ims Dvorak, Very Slow(Largo) 2 2 Count: P come work: Hime work: Write a line of notes, using dotted eighth and sixteenth notes. * crese.~gradually louder. B.M.Co, 11910-ied LESSON 30 OBJECTIVES: 1. To learn dotted eighth and sixteenth notes, staccato. 2. Application of this difficult rhythm in familiar melodies using 2 and ftime. Dotted Eighth and Sixteenth Notes ‘Staccato (Detached) Dotted eighth and sixteenth notes played staccato(detached) are separated by a short pause. ‘Take notice how these notes are written and how they are actually played. WRITTEN Allegretto Foy to the World Handel Time rig, is? : : Papil Think Counts: 2 Pupil Battle Hymn of the Republic . Civil War Song Stefte , Think Count:4 D a 4 soee 2 ates eae Be] Home work: Allegretto Hone work: Write a line of notes using quarters, dotted quarters followed by eighths and dotted cighths followed by sixteonths in 2 time. : B.M.Co. 11910-az 7 LESSON 31 OBJECTIVES: 1. To learn the name and fingering of . fourth space E flat. 2. To learn the E flat major scale. 8. Familiar melodies using this key. xew NOTE 2 13) Eb Major Scale (Bb, Bb, ab) z 3)? 2 a@) Hymn J.Hattoa This goto Moderato Key of flats ar 2 ‘This gote is 2 ® Think Count: 1238 4 The Spacious Firmament on High J.P Haydn Maestoso 7 5 2 © Think Count: 4 1234 2 Silent Night, Holy Night Andante eerie Grier Key of_—flats are__? ; " 2 ® Think Count: 1242456 BLM. Co. 11910-= 7 LESSON 32 OBJECTIVES: 1. To learn thename and fingering of fourth space E natural. 2. Application of previous knowledge. xew Nore This note is? Santa Lucia Neapolitan Boat.Song Andante 2 2 2 Pupil ® Practice both parts 2 Pupil Maestoso Rousseaus Hymn | Key of sharp is__? 2 # Da Capo —to beginning B.M.Co. 11910-TEST QUESTIONS THROUGH LESSON 32 beha Your Points score @® In slow § time, what does the six mean and what does the eight mean? 7 = __ @) In slow § time, this note has____ counts? 4 0 (3) In slow § time, this note t= E has. counts? 4 (4) Mark the counts for slow § under the following. 5 6 ITI di a Jd jd dd TIT, (6) Divide the following into measures. 5 2S SS eee (6) In fast § the count is_______ beats toa measure. (7) In No. 5 above, mark the counts in fast § time. (s) these FIFE are notes? (9) Four (@) of the above notes equal a. (10) Divide the following into measures? pF GANTEN Naim GQ) This 7 is an____ rest? I | | note? HT || a2) Ad is equal to___ sixteenth notes? (13) Ad is equal to___ sixteenth notes? (44) Write four (4) measures, using dotted eighth and sixteenth notes. ae ee HL | (18) Divide the following into measures? 5 (FRAN IG) Bs oom (6) This note is _______and is played with the valve? 5 —— valve? 5 47) This note is______ and is played with the | | (18) Notate the E flat major scale. ¥ ci (49) Sight reading. 16 100 TEACHER: Write line of notes using dotted-eighth and sixteeth, slurs, accidentals, etc. B.M.Co. 11910-