PART III

•no

PA=o"CM=^|o

Ico

1905

MUSI

1 Fisch

BARY ft'

"""rDDMIKDS LTI

«5>00 -*±0-"70

SOUSSMANN/POP. METH. VDL3

Presented to the

LIBRARY of the

UNIVERSITY OF TORONTO

by

GARY ARMSTRONG

H. SOUSSMANNComplete Method

for the

FLUTE

Revised and Adapted by W. POPP

English and German Text

PART I - O503The Elements of Music. Easy Exercises

PART II -O504Easy Duets for the Formation of Tone

and Progressive Studies

• PART III -O505Twenty-Four Grand Studies

COMPLETE - O506

Carl Fischer, inc.62 COOPER SQUARE. NEW YORK 10003

0505

94

H. Soussmann's Celebrated Studies.

Die berühmten Etüden von H.Soussmann.

Revised by Paul de Ville.

C major.

Exercise for the legato playing of two notes. Great

care must be taken to keep the two notes exactly equal,

and not to make the first one too short.

it) The Scales which precede each Exercise must be

be practised carefully, slowly at first, with gradually

increasing speed.

C-dur.

Hebung für das egale Binden von zwei Noten, ohne die

erste als Vorschlag zu nehmen und sie dadurch in ihrem

Werthe zu kürzen. Us muss demnach die genaueste Egal-

ität beobachtet werden.*") Die jeder Uebung vorangestellten Tonleitern sind vor-

her sorgfältig zuerst langsam und dann-schnell zu üben.

1.*)

358"O" -<v «i o ~o~

~rr -©- o «- Ä ~ «- Ä ^ —-» iX ^ — — —

PP<^>H>

3p

^ st ^ ^ ^ ü -e- _ü_ "TT o t% ° " o ^ -e-*<=f>l>P

Allegro, m.m. J=i2o.

'i^mmM

KKIfl-J Copyright MCATVI by Carl Fischer, N.Y.

95

^J^Jj,JJ^Jji^,jjJJyNj^jJJ«^ff9^

s^ffffiffffiQfffilfE

^ PJTOjtjj ij ^.^i^Ecragl'g.r-ff.

> # rggg

1092

96

A minor.

Exercise in Single Tonguing, by articulating the sound

"Tu In this kind of tonguing the tongue must lie quite

loose in the mouth without touching the palate ; other-

wise the articulation is weakened and instead of "Tu'the

sound Du is produced, which in this exercise wouldbe wrong.

A-moll.

Uebung für die einfache Zunge, durch die Artikulation

„tu'.' Bei dieser Art Staccato muss die Zunge stets frei imMuride gehalten und durchaus nicht an den Gaumen ge -

bracht werden, da der Stoss dadurch weinh, und die Ar-tikulation „du" entsteht, welches bei dieser Uebung nicht

statt finden darf

359 ZEE n o :x*fete-e-^i -e- ^ :}W^=^

:9t ^:xlP-^frho » o tlzss:

PP<f>M>

•»092

97

r*fmmmmrn *

^Tfr^ - I Trig rrr bJffi rf'rmfffjgw^ Trf

r

ITrfrig

S& P=5= St ör

^"'"'ifcggggj

10092

»8

G major.

Exercise for rapid chromatic passages and arpeggios.

The small notes must be played very rapidly, in order

that the principal notes may not lose more of their val-

ue than is absolutely necessary. The divisions may be

repeated from the Double Bars (II) at pleasure; they

should be played f (forte) the first time, jp(piano) the

second, in order to acquire clearness and certainty in

both styles.

G-dur.

Hebung für schnelle chromatische Läufer und gebrochene,

Accorde. Die kleinen Noten müssen an die Hauptnote gleich-

sam herangeschnellt werden, damit dieselbe nicht zuviel von

ihrem Werthe verliert. Bei willkürlicher Wiederholung

kann man bei einer jeden Abtheilung der beiden Striche

(II ) einmal forte, das andere Mal piano blasen, um in

beiden Fällen die gehörige Deutlichkeit und Sicherheit

zu erlangen.

3.

3-- 31 -O *>^^^---^^^^Z= w' ü_.^ o 33=

360.ti o ^=^ ^^ 33=O " -«- 33=y =V

PP^f>W

Andante, m.m.A 88

i i ^nfri

if ngjgj

W / T^£r

mi^ ±£ fVUtz

"if

10092

99

•nWW iM^m ^Jtt*&££*£s±£ fffe

-+i—M*JE

M.if

# -r*-F H*-fi*"

f\ \ 4 I I I!« «Il l »

'

« i **= ^m-;

10092

100

E minor.

This Exercise must be played with great feeling and

attention to detail.

E-moll.

Muss ausdrucksvoll und mit grö'sste Genauigkeit vorge-

tragen iverden.

4.

i.jM?r Vn*» .Its*

.Ol^-O..

\' X^v^tefc=^ü-e- Q_

"i^t]

"=s^361i i p " V "?," o^—

V

PP^f^PP V

Adagio. m.m.^=88.

Scttcr^jgi

eresc.

$i .flfjftf?

/

flgijflf|tffflrrqgLa lLr^dr'^

I00M

101

jtlt^tnit:

10093^•

«EE^'j;

D major.

The staccato in this Exercise is quite different from

that in N? 2. Hold the tip of the tongue between the

teeth, letting it touch the lips; then draw the tongue

quickly back, still keeping it pointed. By this means

a very pronounced staccato will be obtained.

D-dur.

Das Staccato in dieser Uebung weipht von dem in X?2.gänzlich ab. Man halte die Zunge spitz zwischen denZähnen an den Lippen, und ziehe sie schnell, aber stets

spitz gehalten, wieder zurück so wird dadurch ein sehr

scharfes Staccato entstehen.

4.ü:» ü«-£>-»

^Al..V* rt t>ixa^^z--F^±ii^V \s'

Ai-ö- ^ =$Z= -©n

362 -<rV JCE V " " o^ a-e-~ V

j '' jfl^J

\y "o

Alleg

JPtua l

rc .M.5

L2

•- f 1»-

~m—

m 9- C £f= £ #- •-

v--^ -P-

sempre stacc art1.

/«/"

#üff £ £ £ £ ***

f e gl ft f b. T f£ s

£kj£^'

i^frfeFe^f £ *e e 1* - f *f p # £

1ad '

d^gifl'HP1ss

. » #e^%sgs

Lfflj 1 LOr LdJT

:

- f-- _

mwiuI

P* *1* ^ - # #•- •- - •- - -0- r-

+ ß- t- t £ £ £

11BSfWlfl/l^LLfl'cLdü^iOO'.tä

* I m $-£-U^^MMä^M,dd'üdJ'» '^=1'^ I

staccato.

vmiL \w& \tiMgg *£ g tjf. a g gfe e

iüi y i mntefi

„ f f f f ,-_-«- —

. r r i» f . r f_r r

.

• • » » , £

^cLfif ' cuTeIcT i^ i'^ i cütLcT i^s s

^JfifJJ i rfi^irfcfrfi r i üiTtü i.^

-p pPFF i^üj V n rirrrrrirPi rrrrf ufi fdlfi JUuQj

'

g.M «a ? t *

£ * * £ § * I te e t>* ^ £ ^ g * £^ü eUJ^ ' ÜJJ ^^M^riA10092

104

B minor.

The notes marked thus A must be very strongly ac-

centuated, in order to bring the Melody into proruin -

ence; by this means an Effect is produced as if two

instruments were playing together. An example of this

wi^l be found in N? 4.

H-moll.

Diejenigen Noten die mit A bezeichnet sind, müssen

sehr scharf betont werden, um dadurch den Gesang her -

vorzuheben; es entsteht dadurch getoissermassen ein zwei-

stimmiges Spiel (a due voci.) Dasselbe ist der Fall z.B.

im Adagio N? 4.

6.

#xr -o ÜoR ä «;£ = _— ^ ^ <*= ±U£ ^h„_ -»- " o

363. :jj "1

-&- y* o

PP<f>PP

±,^^m

Allegro vivace. M.M. J r 144

4 $r$r$r$ >a r#-A r-y-^ r*->a-»:^ »r* »rA »^=r, ,

»

.-—». k r+-1W "1 4 g ~^

1009J

105

4 ff-K Cf-K ff-K Cf-

iXlrJ' cJrtjrJ i l^r cy EJ iXJ tff LJJ

/> ,4 /> , /> .

A f"r A f"~* f"~A

10092

106

A major.

Exercise in Double Tonguing by articulating the

sounds "Du-ke." Each of these two syllables must be

given very evenly and clearly, in order that this me-thod of Tonguing may resemble as far as possible

the ordinary staccato.

A-dur.

Hebung für die Doppelzunge durch die Artikulation

„di-cke." Beide Silben, soivohl die erste als' die zweite (am

Gaumen) müssen sehr gleichmassig und scharf artikuliert

werden, damit diese Doppelzunge dem einfachen Staccato

gänzlich gleich komme.

u. o " o <\<e- ^ 43- SL «. ä f^Su«: ä ^ o ^^-e- ü_ -o-

364. 3r -ö-331 ilv^:- Q ii

pp^f=~pp

Allegro. M.M.J = i2o.

V r "ÜJ du-ke,du-ke

di-ckedi-cke

stmpre staccato.

C&frjr ri freEf

intl'.ri

107

frtm^m'mWftm&

100 92

108

F# minor.

Exercise in the Shake on all notes of the Chroma-

tic Scale.

Fis -moll.

Eine kurze Triller- Uebung der ganzen Chromatischen

Tonleiter

8.

i fcs ü <&*± fefeü^^: Ai.^.

!öe365, o "tt -o^- •^. ^ DtlJ^ " O 4*-e^ rn

PP<.f>VP

,Allegro. m.m.J ;iie

^"

tt

- Mj^ MiT^^ i iM'-

ijL^M'

r^fii'

Y#V"^^r r r rr Pg*faLT T Lffr

**^

3E

mmf ^£

^>-^ #•

f *^Lirf |;J^ ' m

mm 5"- ^-ö- ^W ^~fl£ ^~5^ ^""^ ^ ' *?^~t- *5~~

g I

-l^j|--Hi«

I

N 'IV^rrf Hin HLljr -gSS

.pry^n^ g^.fst *v m <tr' *5— r>^-mll,^B rW.&|3]jJ,T3J|B. jv^l

_»,~ "^- FFTJl

M itMf%f%r#frrf^rf%f%^C# ll * ^ii 1 I ^^ I ^^ ' I n ^>

' »^ Lag I I ^» >^ —

|_M fitjrr*^ r"

r

r^PTrr n^fitrrr^ff»r/"-^?^^Hlr itrrp^f»^»^?fffr^^" '^10092

109

um T V =eT t » eeE=:5^|E ft

S S S*

*J5 .-***

:E^^=iEiStei^l

J«i. *fe.

li'U ^ #*-*-

5^,EE£:E-£S H«

l^ . ti£-

k^rE^

Ü ^-BTO^f p

-r iirrr ^gfHfffWfTr

*•-

## *>">• **_

WJ.H73J r.

-

f ^ ,^-f /#^ *rf *S}

^gfW^f^^g^fe^^ä.«fr- ?&•^-^€

y ä ä ä j ji

«tr F 1r ~ #•

*=^? ? J <J^ f f^*

10092

110

. E major.

For acquiring clearness in the execution of rapid Chro-

matic Passages.

E-dur.

Bezweckt die Deutlichkeit in chromatischen - Tonleitern

bei geschwinden Passagen.

9.

366 «*«ä ^Ä^-Q..».

*>

-o- a=S^4»o " *~

^-^~ ±^= ==^^a^ü^vP-o- cr g»-n -o- " o » l -«-

PP<f>VP

loo»«

ill

p^g^g^l^^llgl^jliiyBlil

10092

112

CH minor.

For acquiring certainty in passages of <V4 time.

Cis-moll.

Eine Uebung um in de?n Fünfvierteltakt Sicherheit zu

erlangen.

10.

U TT» ojMK^=^f^^o"""Pn367. U.^to" 9 jgo^v^; v v "q°q»-e=nV- " o oV

jff||tt

'-J UuJii ijjjj j r ir^rrrr i^[£if ntlTfrrrfrfcjä'^

[^rTOMHicMr^MEf*4w r rfrfrrr irnwf i ^rrf ffrf ir-rrr rf if rigg ¥i*r crffff

^P^ifrr, rffWff|% ill in^ mu i

ffftfrfff

ffg^rrjrfgr^ftri^ fc^jf r r ri

10083

*V£%\\\<?S?M^espressione

v— ^^ ^L- -^L- ^^ v^ v<L ^ >— ^_ -~-^ ^ v^BT^ s£ ^L

U B v«- J *«,/ >/ i.J, yJ, /vi.:' v»/ w i^ ^ i

* * Z*m*H g rrrk ,J -^ * « , gg -s'^'y~^i^#y ^

fo h p h h > £ p fe h 'pi h h h h P* h V?&

$m ,

,

i

* ~~.I > , ^, h^" ^. I .rr~ _ * ,-"

I -I. -r~_ ^ J — . ~

#

ua

* TiT >-. Pv«-». '»'^i &

g (ff g''fr [} P-Q- ». - F./ir gwX J? v£ -«. ^ # . .?

#*& 5g^3= 1—!—=-im mm mzsm. 5S m r-\m V'täJlUW*=•= v»* ^bfa! *-» j, ** ,ifaps

/* V* *

S rtr^i^?»:.&^ *t ^T-^v . »f ,^#ss

JYii^f^i^nfiWj S r-a-r

r*'rvrr ,

j «. H • •»»*>#w

"

f * V'^**: mm

£*& •^—P-

ri

crcircca^iUP

r1

ir'Hi'rnir*^^-

-*-*; pr

j^^^ri^j^rj^^ f *^'i,^^ * » .^ »»r* #

,^g?5S= =

*• i ii r jj« j

10092

114

B major.

Exercise in various kinds of legato phrasing, in quick

time.

H-dur.

Uebung der verschiedenen Bindungen im schnellen Tempo.

0^mUiti'.r-i

115

'

^ffi ljP

lJflg

rrr'rriEdfl-Wi^ gütfF"^flf;

10092

116

Gl» minor.

Special Exercise in the kind of Tonguing which canon-

ly be executed by the articulation of the sounds "ta-ra'.'

or "tu-du J This method will be found of great advan-tage, since the ordinary Single Tonguing becomes too

fatiguing in Passages of length.

Gis-moll.

Ist eine ganz eigene Uebung für die Zunge welche nurdurch die Artikulation"ta-ra" ausgeführt werden kann,und von grossem Fortheil ist, indem die gewöhnliche, ein -

fache Zunge bei etwas langen Passagen in dieser Art derFiguren zu leicht ermüdet.

#s x£i='fells

Pointed Tongueing.

Allegretto, m.m. J--02.

«ta-ra ta - ra ta-ra ta-ra ta-ra ta - ratu-du tu - du tu-du tu-du tu-du tu - du

pümintgr

irffttfr

$i% tf%tärfh

#Mjg

j% F fhnrrijpd

10092

117

cresc.

10092

118

F$ major.

Exercise in 9/8 time. Special care must be taken not to

make Triplets out of the eighth-notes; otherwise,the piece

will be hurried and the Passages fail in clearness.

13.

Fis-dur.

Hebung im Neunachteltakt. Eier muss man ganz besonders

darauf sehen, dass aus den Achteln keine Triolen gemacht wer-

den, sonst entsteht ein Eilen und die Folge davon ist Undeut-

lichkeit in den Passagen.

Allegretto. m.mJtss

^VwIJflfff i

Tff

f

iWPi

im f ff i ni ' .^.ifljffl

fT'f ?

mf

f'-'fW^^f^m Jf ^ '

Fi r% ijj^gtei

10092

119

^vfljjflto. .^.ggigte te*

^ \w^\ \\M tefe*te£

^i^flry^ fW ffrp njrr rrr

cresc. f dim.

10092

130

D# minor.

Exercise for the use of all-the Keys: it can also be

played with Double Tonguing.

Dis-moll.

Hebung für alle Klappen, auch kann man dieselbe ab-

wechselnd mit der Doppelzunge blasen.

^aggllfggsfe^ .

10092

131

»An J^^ i jffl^ii^J^ i^^ iJ^^Jg i^^

i^ jffjsiffift

x#V*- ##*- x

< '"V >gfe

10092

122

D!> major.

Exercise in the appoggiatura or Grace -Note; these must

be made very short, in order to give particular prominence

to the principal notes. The appoggiatura is merely an ac-

cessory note, which must, however, be quite plainly

heard.

Des-dur.

Ist eine Uebung für Vorschläge. Diese müssen sehr kurz

an die Hauptnote herangeschliffen werden, damit solche ganz

besonders hervorsticht, denn die Vorschläge selbst bezwecken

nur eine Art begleitende Stimme, welche jedoch immer sehr

deutlich zu hören sein muss.

Allegro, m.m. ^=100.

ipw frr

yfe^.t.*.*

iL--itititt^^P-ff-T i "-f"-r - r 'r T. *-f

*?^i

*-T *-f *f *-

rJ-fV-P^t-

10092

123

^m £ * r *r y ,.r *f J> *.f jf f fff *f*f*f*f fofr*

£=£» ^ ^jfj'f

^^^^^Jif j>.f^r^T ^^f^f^f^^a^

|^ i- C-ikch

+ #- rr if^ tf if Sftftf *£*$*£*?

*-f ,*f*=l»

*t*=^ T f if > r

f

-r4TffJj

r ^r-p~rJ-lr t *f i^DJNfibr tr >s

fek »f *r ^rJJT *-f >f *f*Z$'>}{;tf,tY jf >r^rJ

T i^^'^^-H^c^ > . ,.

!,.

>

r ".f>f^ppf ,

ff *-f^fif^f *f iryfiftfrf >f tf*p*

ife^=£3=E±||gfirV+f>^s jr p Jlt JLr ftfrrfg£ fceiJTJTfll> #0

^fep^ifl^QjIg r f,jfifjffijp^ jffi^feftfrf

*£>£m=£ ^>it^ £m«r^EvizJ^ A . 4L Ä •

^j^fifj-f K/tfj^jf .

SI

m nfiftfjf , rixpHftf^w^f ^trr-Mfon . .f ,,r> ,-f-#—

j^fjyfcfg-

j ^> ^yTTT^r i ^-r^ 4sw ^ft r 'Lf »ir^fJT ^T^Pj^r^f,

Öpl ;sggÄÜi- £tx£tfi£^

^t^^fTntf^F^

10092

Bl» minor.

Exercise in sustained notes; strict attention to be paid to

crescendo and diminuendo.

124B-moll.

Uebung in langgehaltenen Tönen wobei das crescendo und

diminuendo streng zu beobachten ist.

16.

# fe3E " ^-*—»-.<iininj^-^- 7-^H?n

ii o -ö-

I373. fih PIT,- P V^ rr:

PP^f>PP

-<£3S

Largo, m.m. J. = 4*.

#*äfr_r l ün^f i f-ü^ i^rir fij

/

I» r>ttl rIIUJ u.jn-^ i

ff 1-

i

ftfff^ nftfff;

f P

FffffiffffrflffJ. ±l|±£Äfc

YfiWrrfri- i.'^fffTfBE'.'

dimin.

dim in.

*r.

\\ rrf[fjrr f Tflfc-j'fl*•

^gjSF-^F»? Ö ^g|

ö//>

—

2TM=C JJ d J fa '

: 3E

eresc. JT

r==+^pff^

1009«

125

tep^£ J. i h J. r- JUS-•—•-

^^^Jl^vLiarjrri^fif ff

#rmrff i ^irrruJ.i^jTicresc. ÜF

ts^- je£>^i

"rr

-

|f~fJTf^

dimin. p dolce. cresc.

i'iT ;LV'iTt

b

rir-r|t-frriiUi i,rVi ll u.-

t

rtf|/"^-—

-

I^W' P dolce. cresc. ' ^J ^ ^^?U^^

^Mggi^n^ '^wii^^fe^s-ifl^-^i^ &t jifüs& !=ilsi«te

crescendo.

-ffffff .^fTtfffti^f ftgoiift r?vi r

l|r^n]T l|

rrr'^S F=3?i/ ^ crescendo.

crescendo

I£mfc t p.l -«rn Muii ^r'^rv^frf2

' lT">- ^TT" ypp' i—0m p^

jiv.TTTjjüLLa i

i airVr^

ß-p-

i

<3»1^ ^" crese. y

B t©2- r> F- hp^. i

f=

diminf lT r'

dimin. P dimin. PP smorz.

10092

126

A|> major.

Exercise in Triple Tonguing,by the articulation of the

sounds keh-tu-keh, tu-keh-tu. In this exercise care mustbe taken to preserve the most perfect evenness in the ar-

ticulation of each syllable, just as in N? 7. All these dif-

ferent Staccato tonguings, e. g. Double Tonguing "du-keh','

Pointed Tonguing "ta-ra" and Triple Tonguing "keh-tu-

kehJ'"tu-keh-tu

J'will be found of immense advantage, es-

pecially for those players who are not naturally giftedwith a flexible tongue. By means of these staccatoTonguings a good lasting-power is acquired, with a

little practice, and the longest pieces can be playedwithout fatigue.

As-dur.

Uebung für die Trippel- Zunge durch die Artikulation

„ di-ke-di ke-di-ke." Bei dieser Uebung muss ebenfalls die

strengste Gleich?nässigkeit im Ausdrucke der Silben beobach-

tet werden, so wie es der Fall war bei N9 7. Alle diese Zungen-

Staccato's, als z.B. die, Doppel- Zunge di-cke die Punktierte-

Zunge ta-ra und diese Trippel-Zunge di-ke-di ke-di-ke ent-

halten unendliche Vortheile, und namentlich für diejenigen

die von Xatur aus mit keiner leichtert' Zunge zum Staccato

begabt sind; denn vermöge dieser Zungen Staccato's kannman (hat man nur erst einige Uebung darin,) eine grosse

Ausdauer erlangen und die längsten Piecen damit blasen

ohne, zu ermüden.

Piü Allegro, m.m. J:ss.

SS^Sfig

* fei*P¥^ 3 8ä i

3 -3-3 T -3 3-

j| ^^ccr i ccrCEr'i^c^ i ig|irffl^itocff |

i

JB»Ei

w—mtu - keh - tu keh - tu - kehdi - ke - di ke - di - ke

ipncürm

Q , |, l Fi i i i i

—^ T ,3- 3

—

:2l_mim»»» if pf r rr ^rfft^T?S * J m 'L * \ wmm ??P v

0-0-m-

# te11 -L

r ßl±? T~ 1r s

s :jf|[Crm*#*

^fMCJtfi

rfrf gfrrrVrrrf*

cfCjjgfiirtgj»m^^(^Hfrtif^t&\

p$ tfrf^.tff ifffffffrfrrr \t*£fwfrtht& \

^r*frt&£^

1009E

1W

$>y M

f r r i n rprfr i

rffrfhp qj i ^ij $ «*&**»

i

rvr^Hpr

^Vri nrTO^j rf^K

4 ^ ffrcrrft

«r j j- ji *£ S ^ ~

^

KwWl^u\\}^\hi

10092

188

F minor.

Exercise in legato octaves; it can also be played staccato,

but only with the ordinary Single Tonguing, as in N?3.

F-moll.

Debung in gebundenen Octaven. Auch kann dieselbe Stac-

cato geblasen werden; jedoch nur mit der einfachen Zunge wie

bei N° 2.

18.

375.^^ o *.. o »H°^i> p *l./-

:

^-

£L.

v. " ° " o ..

pp^/^ppxr

Allegro. m.m.J = ioo.

j1

jTjTjjtüijjatfffrato'ftiiti

#*wsi* ,r ... a, ft rr ,r 't.Ti.f^ /T/r.T/f rf ig^=^=±*

• kte^

(f 't '? A * M?-fr rnT!? it* k =f^~

rT:T/T, Ar /? :T ftg& w*y ws

'p (* /»J tj^> rf/f/f /T/fr 'tiT^r iff T rr fr fPT^ fr fr irT.f '? rf /fr fr rr

^ /» ,iir^ /T /r /« /r >T /r^/^/^/>

#*tfefeft fefe fit& \umu%u$ms

'?/TlMrr^ri I7fl /?'T't^ 447 ^m cJii

'*^Mcla sp^10092

129

*aMfe jj^aTiajjffajifiTiMfiWit:-ß-Ü m —mrf"~ß " • T~l"~ . i

'^^ i/fcA^ftrpdi^/V

tefrfofcf^frr.r¥.(t frAn

i pi3 BTViYrT

A

i 'TA T 'i'.T'ffPiffi-

i

•kfc=£ ,4

'# fa-ff- At-£ 4&

fr fc.fr frfr**.-, ,tWM$$Afrfr, rrfrfrfrrr-*'"aJiiru^ i

^TiTuTEjiu mm

4 kt «Üte^i^E üi *ö f (T<Tl^asa iA^igjjm

iÖE •fffrfrrf/rrr-r/rif5 » aä ^ ?s a 4» /rvc 4

*./'$-

m viiitii oil eüJIJ^w7

^Ieüj'Mim clil a£i

fe£ ^ s«35»ö»/•« Sßm ^fe^

iy^ üjj üü

*fc 4 i i fr^fr^(fJf ^fr^fr fr fra (t fr5EEEIPbö ^ ^' nJv^ m

i" jjiTimui^ff^i^jjjj a^

.|/rwf¥f .

. /% fe r?, fem fe£Jf^§£ fofffff, fr/»

:s iy ia^^^i^ idwcttri

M%?%^%^£ (% % fe fe*

JP A> ^M^Mf-frr^ i PD PVftfr!Xft \ ftfr«fTftfär§li \

< fe•* ^% r# r? ^ I ft ft

ä ^ 23 3ö £ £

10092

ISO

El> major.

Exercise in Arpeggios, or Broken Chords, giving the

effect of three parts. The greatest clearness, evenness and

accuracy must be observed, in order to avoid treating

any one of the notes as an appoggiatura (as was the case

in N?8.)*9 - ^mt^^ltsi

Es-dur.

k376- feHi .,

41 O »'-fcV _Q_ »•

Uebung in gebrochenen Accorden, gleichsam dreistimmig,wo

die höchste Deutlichkeit, Accuratesse und Gleichmassigkeit statt

finden muss, um auch nicht eine einzige Note als Vorschlag

(wie z.B. der Fall bei N? 3 war) zu betrachten.

Ä-ö-^ ° o o =n o« o„" " oo " •*•

&xf>PP

Allegro. m.m.J = ii2.

T^f1i

; » n&$$& \&&^&$&&^Mt^'"" ^^Wa&'Attf

<fT"lfrZ=B

mmm^MM lMM*

\rr-J f*Wf^ pV fy pV fe

gg

*> ,- p> fm p/> 'Hpi [JTJtjtzjg/ »I fwr ß/ß ß Sm z+==*! r --fp. .'Jfl.-f^ ,lT^,.f\ .-h,-h -r- -p"'

BE»pCS L

l--ri /fi>» , rp-ßfw , fa-ßrß-ß ,

^-f /f-f,V-; a#=;

ffi«! 'fa'fötw&K^.mw$ \^$^f^$^&g

10092 ^

1S1

crr-.f¥ SI./T. .4fi. <?_ fär Q, ffirmmmmmxmmmij^fe^gj

frfa.(&(!h.fa<&fafe.fo. fc/&&

10092

182C minor.

Exercise in the Turn and the Mordent (passing Shake.)

The Tonguing for the middle part of this Exercise is got by

the articulation of the sounds "dee-deh'.'

C-moll.

Uebung für Doppelsckläge und Pralltriller. Der Mittel-

satz wird mit der „di-de" Zunge geblasen.

20.

it .^gggglggggW, IQ. *> ET

377 S ott ol" 1»

o- -t*IE gTfM *Q »TT«^xr:

r, fr-i'"f

",^r«f"i^^ i

fi^ff^tgg^^iffi ,,aMM

,

.h p^f^f- rri if rf--r^ m-, ^ r

pp

ffir

g

j>h, pr^i^n^irr ^ > ff, A jiBi <4-

4 *. kfofo^&&&i:$+fo&^jr^Yn^^n^irf^^Yi

#k*an ^ ifi^ tinEf~Juffii

fe£- .-

i

ß-"^i^P^P^WllM MtSLS

v W'yw i\V *iV IV */;P%^ i^iS*'m* i*SV ¥

10092

^S 133

iH\fU\

\rJ£$V\, n-

_ ^ mj

^%y% im%myyp4^

J5 *_¥ ^-—- f'^ tea ^ SSe

«5a^5

p,^m]tm m „^ }n „.w^apaspüfclz

^'1, ^^^Jffll ,Uiji.,f?^|

l-^ l n^^^5f iJ. U. 'i

10092

Bl» major.

Exercise in the Shake on long- notes in slow time.

184

B-dur.

Eine Triller-Uebuvgfür lange Noten im langsamen Tempo.

81.

o " o f*fi.^:^:

ä±^=£±u* ixS fi- -o-W V S,' -V^-£S_

378. 3t? O V^ S> " o

pp^f>&>

V

Poco Andante. m.m.J = 88.

irJT-^JJ' ijg^TJJ n^TÜu 'ii ^iXi i

*PS

te= #•

scresc. 3 mf l-T

<^ ifj^ i fgy'iflrl^rpi?^ Se\ < trp3>

#•fl

urn^r^u/^,? cresc. 3

\ i ^.t^ ^j, r r^Tuf r\j i\Lf r\u«K

gi i sjgS

decresc.

P%Uw?^S^ 'jjjj^ j.1tu Tj g

*•ä ^

^"^ i ^iiKjJ'f^yq'"^^.'!^C'ji

» a ^^itfffnTff^ i

tff^J

16092

135

cresc. f v2, vi

^=£=

*1; f^lS i

tiffffFryy j

|

n%frJ.ffiTft i

i^^w-

fa'Vir^ r^^in^iLTjjl^i

if i

1

r^TTii ? i ; i I'P^T 1

1

fJi u i

^Tu, fr"ijj i Tjmi

f. B 5JSJJI*S

^-^_ vi," 1T. -, .VS^ijiÖ

*£-

^^nä.?. * i i

rSIH^ ~" ^.fZ%&M& ~1 VrStoill#, i

10092

136

G minor.

Exercise in the Staccato tonguing explained in N? 5.

G-tnoll.

Uebung für den nämlichen Zungenstoss als in N? 5

.

22.

fei«*-Ol -2*: n^ \^- ^zz ix^i33=y n lt o » o »igzsz €»-

379, 5=2 \- " ? " ^^PP^f^jP

p ft ikj^ff*

av—-"'' v -• rail.

/7\

"nBf 1 lr*

^

Moderato.

Allegro, m.m. J= io4

if ''Dim a ^•«_ *>. _ ^>

bf9 *=/q* ^=* ^3 • mi

«- AA» » • . •iffliil=ät

loosa

187

A. MM. A«. »^ykM'Lifl^ H

= =#-S mmmm ^

F f-9- ^ 9-

# 3 -7^»M il **-Ä =#T

3jü L&ü LiL

• # ^ •

t m 3=

*-#- A«r ,.— • •

i* iz*#*m

U BM ESS BSSES

1» 1»*-

?f £& «_• i«

£ [iclilil[ii£i Liu"

# # # -99- ^ -9- * • ^ a • ^ feg^-iV^-gjg^f

jlj'L^L^^üUJiLmUU£

/•a//, tf*'m.

10092

188

Moderate

#^= •—•

—

== /»; ft . j_ ft J

A

p"1 p- 1

rr1-

: j

• •

fT«..

r ^f—fTc.

f

:== — ^.-.-- 1 1 1

1—

i

—

==4=

# -Ä ft — ft»r /fcff f>- #*- >-

a:t a _ jftA

? f^m?

dim tnf

•

III;

*-MFM1 m — '—

—

•- . jft-ift- it, . • •

:

ft ^~m ft ft ^ ft i__ p_K FTi—ft--

;*-ft

i—ft-rf-— h»

—

•:.^ft.

—

|

r t

BSSS—

-

J

•-rr-rfr -- fit'--- j$ it^t,

m

$£ itt. ithü6 ^ ft- ^ «•«- /- f

3=j ±£>ft- ft-F ft-

ft ^pffftf ^ft- ^> #£ -*T t-

£

ft ft '-ll ft 1-4IS 3^ **».* ^ft gFF ^- *.

10092

^ ff r.p* *# *!£«:££ ££ , £* ^ Ai. ^ i.3^ ~TWm == =

M- -ft

#^B ft ft - ftß- 4L

—

^- " r ' --

—

i 7f- #*- -ß-ß- -ß- ß ß-m ß.

wm

l1

' Mid»* ft £ ^ /^t-s

L^aeaiffl ^

j'1

[üjyiiifiLü*c*** />ff--f i r . rf.-.rr-. rr .»p±i wm-£ ^^

*Ö 3 *_A ^ * -ft ft- #-'

ß ^ ß ß s »I / » - />S ^ 2r=

{AUuiiütim^mmm-ft ft-ft. ft

#c^-ÄÄ^-^ ft- s~ ft-m. r / •mmißi^täMMm

f con bravura

$ß ^ß^r.f-Uß-^4L

ijCfffäTfcE£=»SLj=

352; ft ,^ « ff-ri--*r-1 Sm 2

100SS

F major.

In the style of 9 Concert Piece

23.

140F-dur.

Uebung in der Art eines Concert- Satzes.

Allegro brillant, m.m. J .- m

I j ^JCTffl^jMWrf». sunore

f > .^f BJpJBJ J-

1 j J .JUjgJJJ ^Jp

y ,1 1 .^— / ?, 11 ^U^a r-g

I i I . I

10062

10092

D minor.

Exercise in ascending and descending Figures.

24.

142D-moll.

Hebung in auf und absteigenden Figures

.

381. 3EIiPP<f>PP

-o- Tl~M *;.? "'o o —

i

^^ >>^ o *»-°t;*il>. 33=^^^ <J° O

fc^ '

ittCQ'gP

10092

Presto, m.m. J.-

143

138

t wM&hm^ft^gmEfrvftj:mxid m3^

'P crr.w.

^J^i$m^0m

^^Uii^'Uu10092

List of the Principal Words used in Modern MusicWith their Abbreviations and Explanations

; pausing

A to, In or at; a tempo, In timeAccelerando (accel.). Gradually increasing the speedAccent Emphasis on certain parte of the measureAdagio Slowly leisurelyAd libitum Cad libJ . At .pleasure: not in strict timeA due (a 2). . . . . To Be played by both instrumentsAgitato Restless, with agitationAI or Alia In the style ofAlia Marcim .... In the style of a MarchAllegretto Diminutive of allegro; moderately fast, lively;

faster than andante; slower thin allegroAllegro Lively; brisk, rapid.Allegro assai .... Very rapidlyAmoroto AffectionatelyAndante In moderately slow timeAndantino Diminutive ofandantes strictly slower than an-

(Luae , but often usedm the reverse senseAnima, con j . . . . With animationAnimato )

A piacere. At pleasure : equivalent to ad libitumAppassionato. . . .ImpassionedArpeggio A Broken chordAssai Very; Allegro assai, very rapidly

Attaeea .'.'.'.'.'. .Attack or Begin what ToHowe without

Barcarolle A Venetian boatman» songBit Twice, repeat the passageBravura Brilliant; bold; spiritedBrillante Showy, sparkling, brüliaiBrio, con With much spirifCoden* An elaborate, florid passage introduced

as an embellishmentCantabile In a singing styleCantons tt

a

A short song or airCapriccio a ... .At pleasure, ad libitum,Catalina An air, shorter and simpler than the aria

and in one division, without Da CapoChord The harmony of three or more tones of

different pitch produced simultaneouslyCoda A supplemental the end of a compositionCol or eon With

^^Crescendo (erete.) . . Swelling; increasing In loudnessDa or dal FromDa Capo (D. C.) . .From the beginningDal Segno (D.S.). .From the signDecrescendofdecrescJBeeTeaing in strengthDiminuendo (dim.). Gradually softerDivisi Divided, each part to be played by a sep-

arate InstrumentDolce (dot.) . . . .Softly; sweetlyDoleissimo Very sweetly and softlyDominant. .... . The fifth tone in the major or minor scaleDuet or Duo ....A composition for two performersE And

iant

Elegante Elegant, gracefulEnergieo With energyEnharmonic . . . .Alike in pitcu,

rously_ different in notation

Etpretsivo With expressionvtnale The conoludinjr movementfine The endForte Cf) Loudforte -piano (fp) . . Accent strongly, diminishing instantly to

pianofortissimo (ff). . .Very loudforsando(ff=~) . .Indicates that a note or chord is to be

strongly accentedforta Force of tonefuoeo,eon With fire; with spiritGiocöto Joyously-, playfullyOiutto Exact; in strict timeOrandioso Grand; pompous; majestioGrave Very slow and solemnOranioso GracefullyHarmony In general, a combination of tones, or„ chords, producing musicKey note The first degree of the scale, the tonioLargamente . . . .Very broad in styleLarghetto Slow, but not so slow as Largo; nearly

like AndantinoLargo Broad and slow; the slowest tempo-markLegato. . . Smoothly, the nvene of staccatoLedger-line A small added line above or below the

staffLento Slow, between Andante and LargoEistesso tempo. . . In the same time, (or tempo)Loco Ln place. Play as written, no longer, an

octave higher or lowerMa But

%aae

nsX.o

tr0pp0\ : :fe^e

1

/t'ic%?aign°ifTeUd0h "

Maggiore Major KeyMarcato MarkedMeno LeSBMeno mosto . . . .Less quicklyMesso Half; moderately •

Metzo-piano (mp) . Moderately softMinore Minor KeyModerato Moderately. Allegro moderato, mod-

erately fastMolta Mnch; veryMbrendo Sy^S »W. j „,Mosto Equivalent to rapid. Piu mos so, quicker.

Mbto Motion. Con moto, with animationNo« NotNotation The art of representing musical sounds

by means of written charactersObbligata An indispensable partOpus (Op.) A work.Ossia Or; or else. Generally indicating an

easier methodQttava (*«a). . . .To be played an octave higherPause (/T\) .... The sign indicating a pause or restPerdendoti Py">£ »^»7 graduallyPiacere, a At pleasurePianissimo (jap) . .Very softlyPiano (p) ... . .SoftlyPiü MorePiü Allegro . . . .More quicklyPiü tosto QuickerPoeo orunpoeo. .A^tttlePoco a poco. . . .Gradually, by degrees; little by little

le fas'I pc)iu

?rimo JlW).luariet

U. .

tintet. music for five per-

Poeo piu mosto . . A little fasterPoco meno A little slowerPoeo piu A little fasterPoi Then; afterwardsPomposo Pompous; grandPrestissimo .... As quickly as possiblePresto ........ Very quioi: faster than Allegro

The firstA piece of music for four performers.Aa ff; in the style ofA piece of music foformers

Rallentando (rail .) Gradually slowerReplica Repetition. Sen%a replica, without

repeatsRinformando, . . .With special emphasi*.Ritardando (rit.) Gradually slower and slowerRitoluto Resolutely; bold; energeticRitenuto In slower timeSehernando. . . . .Playfully; sportivelySeeondo (249) . . .The second singer, instrumentalist or

FollowSegue. low on in similar styleSempliee Simply; unaffectedly

Without. Senta sordino without mute

to

Sfortando (»/). . .Forcibly; with sudden emphasisSimile or St mili. .In like mannerSmarsando (smon) Diminishing in sound. Equivalent

MorendoSolo For one performer only. Soli; for allSordino A mute. Con sordino, with the muteSostenuto Sustained; prolonged.Sotto Below; under. Sotto voce, in a subdued

toneSpirito Spirit, eon Spirito with spiritStaccato Detached; separateStentando Dragging or retarding the tempoStretto or stretta. .An increase of speed.Piu ttretto fasterSubdominant . . . .The fourth tone in the diatonic scaleSyncopation .... Change of accent from a stroi_ to a wea.k o;

Taeet /is signified

strong beat

"Is silent" Signified that an instrument

Sr vocal part, so marked, is omitteduring the movement or number In question.

Tempo Movement; rate of speed.Tempo primo . . .Return to the original tempo.Tenuto (tend • • - .S«ld *

' the full value.Thema or Theme . .The subject or melody.Tonic The key-note of any soale.Tranquillo Quietly.Tremolando, Tremolo A tremulous fluotation of tone.Trio A piece of music for three performers.Triplet A group of three notes to be performed

In the time of two of equal value In theregular rhythm.

Troppo Too; too much Allegro < ma non troppo,not too quickly.

,tti All) all the Instruments.

n. . . A, one, an.Una eorda On one string.Variations The transformation of a melody by means

of uurmonio. rhythmic and melodfo changesand gmbelliahments

.

be

an

Veloee üulo _,, rap*«. _.

Vibrato A wavering tone-effeot, which shouldimnrintr'—

Fivaee . . .

VivoVolti Subito F.S.

sparingly used..With vivacity; bright; spirited.Lively;, spirited.. Turn over quickly.

/

^^2LU ^5HS- 5

jUag ^Sco>===Q in

C/>^ Q. oz^S^^u-§S --i^=X Ol=^^C/3 Oa== >-

<fi CD oLU_i^^=oi-==^3s^=< COcr i-

C F. INC ISBN 0-8258-01 95-8