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Sfte World's Edition 



Universal method 



for the 



^Saxophone 



by 



Paul de Uille, 



UNIVERSITY OF TORONTO | 

EDWARD JOHKSONJ 
MUSIC LIBKARY 



The largest and SKCost Complete Method ever written for the Saxophone. 
Based upon the celebrated works of 



A. riAYEUR, H. KLOSE, and others. 

And containing the complete fingerings for 

X 

THe Latest Improved Saxophones 



Price Paper 
$3.50 



Price Cloth 

$4.75 






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^BRAiT^ 



APR 24 1%4 






K94759 










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HE Author takes great pleasure in stating 
to the Student, that everything which 
patient research, practical experience and 
knowledge (of my favorite instrument) 
could suggest, has been brought to bear 
to make this the greatest and most com- 
prehensive Method for the 

Saxophone 

ever attempted. 

The plan of study is thorough and 
progressive, and if strictly adhered to, 
cannot fail to produce a first-class per 
former. 

Yours truly, 

Paul de Ville 









Zhe "(Universal flfoetbob tot Sa*opbone, 

Infcei 

PAGE 

Rudiments of Music # # % 16 

A list of the words used in Modern Music .!.!.*//..*.*." .Y..7..7.*. !!!!*/.!! ! .' ' ! \ ! .* .' .' .* 1m 

How to make your own Reeds .///.V." ...... ., !......! . !!..'. 14 

The Saxophone ./..!!! V.*. . * .* * 9 

Instruction for the Saxophone * ... . 9 

How to hold the Saxophone !.!!!.... . . .......... . 9 

Position of the Performer . . . ..../...[ \ 9 

Position of the Mouthpiece in the Mouth ' , ," " 10 

The Reed ......!.......!.!..!.........!.!!..!!! 10 

Manner of controlling the tone etc 10 

Breathing 7. '.!!!......!. . 10 

Method of Study ......I.......//... 10 

General Remarks n 

Chart of Saxophone with 11 and 12 keys 

Chart of Saxophone with 15 keys 

Improvements added to the Saxophone 77.!! 26 

Preparatory Exercises 7 .7 27 

Exercises in Slurring 31 

Progressive Exercises on time, etc 39 

Exercises on Rests 41 

Twenty Progressive Exercises 45 

Eighteen Exercises in Articulation 52 

Preparatory Exercises on the High Notes 55 

Chromatic Scale of the Saxophone 57 

Major and Minor Scales in all Keys 58 

Major and Minor Chords in the Keys most used 62 

Sixty Exercises of Mechanism 63 

Fifty Exercises from low Bb to F above the staff 67 

Twentyone Exercises on detached Notes in different Keys 92 

Twenty-Seven Exercises for gaining execution in the different Keys 98 

Three Exercises on Staccato 108 

Grace-notes and Embelishments 110 

The Shake 115 

Table of Shakes 115 

The Mordent or Passing Shake 118 

Exercises on Shakes 118 

Fifteen Cadenzas 121 

Introduction of Adagio Beethoven Sonate "Pathetic" 123 

Ten Duets for Two Saxophones by E. Mayeur 125 

Six Duets for Two Saxophones by H. Klose 144 

Exercises on Eighth notes and Sixteenth notes 144 

Exercises on dotted Eighth and Sixteenth notes 158 

Exercises with Sixteenth-note Rests 160 

Exercise on Dotted Sixteenth-note and Thirty-Second-note 161 

Exercise with Thirty-Second-note Rests 161 

Exercises on Triplets 162 

Forty Exercises on Slured and Detached notes 165 

Seventeen Exercises on Syncopation 179 

Twenty Operatic Melodies 184 

Exercises for the new fingering of the improved Bb, B and Cff keys 197 

Progressive Major and Minor Scales and Exercises 201 

Interval Exercises on the Major and Minor Scales 208 

Studies on the Major and Minor Chords 212 

Exercise on the Chord of the Dominant Seventh 214 

Exercise on different Diminished Sevenths 214 

Exercise on the succession of four Diminished Sevenths 214 

Ten Studies on Apeggios in different Major Keys 215 

Chromatic Exercises 216 

Eight Fantasias • 218 

^ Eleven Progressive Studies 226 

\Theme with nine easy Variations 236 

Theme with Variations 240 

Twenty Studies by A. Mayeur 243 

Fifteen Studies 263 

F4ur Solos 280 

Aif with Variations 288 

Fotir Concert Duets 290 

Solos, Airs Varies % 303 



The Universal Method for the Saxophone 



By PAUL D£ VILLE. 




HE Saxophone was invented about 
the year 1844, by Adolph Antoine 
Joseph Sax. He was the son of 
Charles Joseph Sax, the eelebrated 
musical instrument maker of Paris, 
France. 

Since the instrument was first 
invented, it has been greatly im- 
proved, and now — thanks to the skill 
of Messrs. Evette and Schaeffcr, 
Paris, Franee, it has developed into 
the Saxophone as we know it to-day. 
The body of the Saxophone, a parabolical cone, is 
made of brass and provided with a set of keys. 

The mouthpiece is similar to that of the elarinet, 
and is fitted with a single reed. 

The fingering of the Saxophone is similar to that 
of the Oboe, a clarinetist can readily master same after 
a little study. 

The tone of the Saxophone is soft and penetrating 
in the upper register, and in the lower register it is 
full, rieh and profoundly impressive. 

One great merit of the Saxophone is its nobility in 
sustaining singing tones. Its tone is richer and has far 
more volume than the elarinet, and it has an extraor- 
dinary range of swell from soft (pp.) to loud (ff). 

The full harmony of a quartet of Saxophones pro- 
duces a grand effect. 

In brief, the tone of the Saxophone is peculiar to 
itself, presenting vague analogies with the tones of the 
'cello, elarinet and oboe. 

The Saxophone is now an indispensable instrument 
in bands, and also fills an important place in large or- 
chestras. 

Saxophones are being made in many different sizes, 
and are classed in two series : 

Series A. 
Sopranino Saxophone in F 
Soprano Saxophone in C 
Alto Saxophone in F 
Tenor Saxophone in C 
Baritone Saxophone in F 
Bass Saxophone in C 

Series B. 
Sopranino Saxophone in Eb 
Soprano Saxophone in Bb 
Alto Saxophone in Eb 
Tenor Saxophone in Bb 
Baritone Saxophone in Eb 
Bass Saxophone in Bb 
Contra-bass Saxophone in Eb 

The first series (A) is for orchestral use, and the 

second series (B) for the military band. Saxophones, 

when they are used in military bands, are generally 

< employed in choirs of four, each of a different pitch, as 

follows : 

y Soprano in Bb, Alto in Eb, Tenor in Bb, and Bari- 
tone in Eb. 



A Bass in Bb and Contra-bass in Eb are sometimes 
used, and (though very rarely) a Sopranino in Eb. 

It is now quite eommon to see in Saxophone quar- 
tets two Alto Saxophones in Eb used, one taking the 
part of the Soprano in Bb. 

The Saxophone used most as a solo instrument is 
the Alto in Eb. 

INSTRUCTIONS FOR THE SAXOPHONE. 

The compass of the Alto and Tenor Saxophones is 
tM-o octaves and a major fifth. 




The compass of the Soprano, Baritone, Bass and 
Contra-bass Saxophone is two octaves and a fourth. 




On the old model Saxophone the lowest note was: 



B4 



The music for all Saxophones is written in the treble 



elcf. 



HOW TO HOLD THE SAXOPHONE. 



The Soprano Saxophone is held in the same man- 
ner as a clarinet. The Alto, Tenor, Baritone, Bass and 
Contra-Bass are held, with the lower part or bell of the 
instrument resting against the right leg of the per- 
former, but not too much on the right side, for in this 
position the left arm is stretched and the right arm is 
bent, thus interfering with proper execution, and also 
tiring the arms. 

The right thumb should be put below the support, 
to hold the instrument in position, but not to hold it 
up ; the strap will do that. Especially avoid resting the 
instrument on the thumb, for this tires and paralyzes 
the fingers. 

The thumb of the left hand, supported on the round 
mould, will at the same time be in position to use the 
two octave keys, and in order to be able to use these 
two keys, the thumb should always rest in the same 
position, this is very important for equality of fingering. 

POSITION OF THE PERFORMER. 

In sitting or standing, the body must be EREOT, 
head up r,nd steady. 

The chest must be well expanded, which facilitates 
the action of the lungs and allows the performer to 
bring out sounds both long and well sustained. 

The arms should fall naturally along the boly. 

The hands must be held without contrac^on or 
rigidity upon the instrument; the fingers must be 



/ 



arched and fall rather than strike upon the plates arid 
keys. 

The fingers must NOT rest on the plates or keys, as 
this interferes with smooth execution. With fingers 
flat, instead of being arched, one cannot properly take 
the 6 sharp, C sharp, B natural and low B flat keys, 
the left little finger is necessarily raised, whereas with 
the fingers arched on the plates, the little finger takes 
a good position, and easily commands the above notes. 

Touch the keys with the tips of the fingers. 

APPEARANCE OF THE PERFORMER. 

When performing before an audience bear a calm 
appearance, emit the sounds without showing ex- 
ternally the difficulties that have to be overcome ; it 
will greatly impress those around you with the ap- 
parent facility of your execution. 

On the other hand, it would offer the company some 
temptation to laugh if you were to move your head, 
balance the body, raise the shoulders as a mark of ex- 
pression, or fill up your cheeks with wind. 

POSITION OF THE MOUTHPIECE IN THE MOUTH. 

Insert about one-third of the mouthpiece into the 
mouth, the reed being underneath. The lower lip 
should be a little drawn in, so as to cover the teeth: 
and the upper lip slightly pressed downward, to pre- 
vent the teeth biting the mouthpiece and damaging the 
quality of tone. The mouthpiece being thus held by 
a light pressure of both lips the air cannot escape by 
the sides of the mouth, the reed can then act freely and 
perform its vibrations with all desirable facility. The 
tone on the Saxophone is produced by the tongue, 
which sends the air into the instrument and at the 
same time causes the reed to vibrate. To produce a 
tone the player must take in a sufficient quantity of 
air and force it into the instrument by a short stroke 
of the tongue and by pronouncing the letters T or D 
or the syllables "Too" or "Doo M , according to the 
quality of tone required. Strike the reed about half 
an inch from its top (or thinnest part), with the tip 
of the tongue. 

THE REED. 

Great care should be taken in choosing a reed, as 
the quality of the tone depends upon the reed. 

When the reed is "hard" and the mouthpiece open, 
the quality of tone is very bad. 

In the low notes the tone is loud and hoarse; in 
the middle notes it is husky, and in the high notes it 
is thin and the notes are false. 

When the reed is "soft" and the mouthpiece closed, 
the notes have the tone of a reed pipe and becomes low, 
and if one wants to raise them the reed hugs against 
the lay of the mouthpiece and there is no sound. 

On the other hand, when the mouthpiece is a little 
.open and the reed of medium strength, you can regu- 
late the tone, diminish or increase it at will, and all 
the m.tes are smooth and in tune, and the tone is full, 
even dnd mellow in any of the registers, low, medium 
or higlv 

An apt student will soon be able to choose a proper 
medium, and also, perhaps, learn to "touch up" his 
reed by judicious manipulation, to get it to speak 
easily, w^th a full yet sweet tone. 



Reeds are made of Frejus cane, which must be 
ripe, but not overripe. For a Baritone and Bass Saxo- 
phone a softer reed will be better; while for the So- 
prano and Alto a more substantia] one will be prefer- 
able, with a medium for the Tenor. 

The reed of the Saxophone being large and flexible, 
too much pressure closes it, therefore a slight pressure 
only is necessary to produce high notes, contrary to 
the effect on a Clarinet. 

MANNER OF CONTROLLING THE TONE, ETC. 

The control of the tone consists, first, in sustaining 
with strength ; second, in emitting it softly and 
husbanding it; third, in increasing and diminishing 
the tone without altering its pitch. 

During the emission of the air the tone must be 
equal, the same at the end as at the beginning. When 
the lungs arc filled the tone is naturally stronger at 
the beginning, afterwards weak. This must be guarded 
against by reserving sufficient breath for the end. 

It is of the greatest importance to have a good 
mouthpiece and a good reed, without these the student 
will try in vain to produce a sweet tone. 

BREATHING. 

Taking breath at the right time is an important 
matter. Every melody consists of sections which may 
be compared to the separate clauses of a sentence, and 
as these arc indicated by punctuation so the sections 
of melody ought to be marked by the taking of breath 
at the correct moment. This should be done very 
rapidly, without noise, and without opening more of 
the lips at the sides of the mouthpiece of the instru- 
ment than is requisite for the inhalation of the breath. 
The face of the performer should give no sign of the 
action, and the more imperceptibly it is done the better. 
Every breath taken should be a deep one, completely 
filling the lungs, so as to enable the performer to play 
long sections without a break. 

In the exercises in this method the place where 
breath is to be taken is marked by this sign (') over the 
stave. 

The management of the breath is, like the flexibility 
of the fingers, a matter of practice — difficult at first, 
but acquired by perservering study. 

HOW TO PRACTICE. 

Practice as near as possible one regular time each 
day. For it is better to do so, if only for a short time 
regularly, than to practice for a long time one day and 
neglect it for two or three. t 

The Scales. — Whatever time the student can devote 
to practice, at least one quarter of that time should be 
devoted to the practice of the major, minor and chro- 
matic scales. 

Study intelligently, that is to say, DO NOT play the 
exercises too quickly, always follow the rhythm, give 
each note its full value, keep the pitch of each note 
well up, attacking it freely and sustaining it to the 
end. The pupil should practice daily long sustained 
tones, taking successively every note of the chromatic 
scale. This study will impart a beautiful tone, form the 
embouchure, and give roundness in playing. 

As the pupil progresses with the following studies 
he will find additional instructions at various point? 
which he must carefully observe. 



\ 



GENERAL REMARKS. 

The Strap bears the weight of the instrument, not 
the thumbs. 

The fingers must be arched, and the keys touched 
by the tips of the fingers. 

The mouthpiece must be carefully cleaned after 
playing. 

The pads should be kept in good order, and the 
springs of the keys oiled occasionally. 

The instrument should always be wiped after using 
to prevent verdigris forming, and a piece of linen or 
cotton cloth passed through the crook to which the 
mouthpiece is attached. 

The performer must be very careful and not allow 
the pads to remain damp after using the instrument. 
For when the pads are wet and are allowed to dry of 
their own accord, they become hard and do not cover 
the holes, which makes the instrument very difficult 
to play, also lowers the pitch and puts the instrument 
out of tune. 



TAKE CARE TO AVOID THE FOLLOWING 
FAULTS. 

1. Wasting of the breath. 

2. Spluttering with the tongue. 

3. Direct breathing with the chest. 

4. Uncertainty of tonguing, i. e., unsteadiness of 
tone. 

5. Nodding with the head, which disturbs tonguing. 

6. Loud, audible breathing when one or more sounds 
are being blown. 

7. Swaying motions of the body, especially of the 
arms, which interferes with the fingering. 

8. Beating time with the foot; in short, whatever 
interferes with exact and easy execution agreeable 
presence, good position of the body, etc., must be care- 
fully avoided. 



<. p 




I 



i 
it 






List of the Principal Words used in Modern Music 

With their Abbreviations and Explanations 



(Q> 



4 " r ' ' s V ' ; r£ 0,i ? ?, at ; a tempo y in time 
Accelerando (accel.). Gradually increasing the speed 

^«f*»? Emphasis, on certain parts of the measure 

Adagio. . Slowly leisurely 

AdhbUumiad lib.) . At pleasure: not in strict time 
A due (a 2) To tfe played by bcth instruments 

Agitato Restless, with agitation 

Al or Alia In the style of 

Alia Marcia .... In the style of a March 

Allegretto. . . . ; . Diminutive of allegro; moderately fast, lively; 
faster than andante: slower than allegro 

Allegro. Lively; br j sk, rapid. 

Allegro as sat .... Very rapidly 

Amoroso Affectionately 

Andante In moderately slow time 

Andantino . . . .*. Diminutive or andante; strictly slower than an- 
dante, but often usedin the reverse sense ' 

Ani?na t con J . . . . With animation 
[ Animato ) 

1 A piacere. At pleasure: equivalent to ad libitum 

1 Appassionato. . . .Impassioned 

arpeggio A Broken chord 

Assai Very; Allegro assai, very rapidly 

A tempo In the original tempo 

Attacca Attack or begin what Tollows without pausing 

Barcarolle A Venetian boatman's song 

Bis .Twice, repeat the passage 

Bravura Brilliant; bold; spirited 

Brillante Showy,' sparkling, brilliant 

Brio, con . . .- ... ; .With much spirit 

Cadenza . . . . . An elaborate, florid passage introduced 
as an embellishment 

Cantabile In a singing style 

Canzonetta A short song or air 

Capriccio a . . v . .At pleasure, ad libitum 

Cavatina An air, shorter and simpler than the aria, 

and in one division, without Da Capo 

Chord, . The harmony of three or more tones of 

different pitch produced simultaneously 

Coda A supplement af the end of a composition 

Col or con With 

Crescendo (cresc.) . .Swelling; increasing in loudness 

Da br dal From 

Da Capo \D. G.) . .From the beginning 

Dal Segno (D.S.). .From the sign 

Decrescendo(decresc J Decreasing in strength 

Diminuendo (dim.). Gradually softer 

Divisi Divided, each part to be played by a sep- 
arate instrument 

Dolce (dol.) . . . .Softly; sweetly 

Dolcissimo > . . . .Very sweetly and softly 

Dominant. The fifth tone in the major or minor scale 

Duet or Duo . . . .A composition for two performers 

E - w 



Elegante Elegant, graceful 

Flnergico With energy, vigorously 

Enharmonic. . . .Alike In pitch, but < J ' J 



... different in notation 

^pressivo With expression 

Finale The concluding movement 

Fine The end 

Forte(f) Loud 

Forte- piano (fp\ . .Accent strongly, diminishing instantly to 

piano 
Fortissimo (ff). . .Very loud 
Forzando(fz>) . .Indicates that a note or chord is to be 

strongly accented 

Forza Force or tone 

Fuoco,con With fire; with spirit 

Giocoso Joyously; playfully 

Qiusto Exact; in strict fime 

Grandioso Grand; pompous; majestic 

Grave Very slow and solemn 

Grazioso Gracefully 

Harmony In general, a combination of tones, or 

chords, producing music 



| Keynote. .... . the first degree of the scale, the tonic 

I Larga-mente . . . .Very broad in style 

| Larghetto. Slow, but not so slow as Largo; nearly 

I like Andantino 

j Largo. . . ,\ . . .Broad and slow; the slowest tempo-mark 

Legato'. Smoothly, the reverse of staccato 

Ledger-line. . v . .A small added line above or below the 
[ staff 

Lento ..... 1 . .Slow, between Andante and Largo 

L'istesso tempo. . .In the same time, (or tempo) 

Loco .In place. Play as written, no longer, an 

octave higher or lower 

Ma .But 

Ma non troppo.\. .Lively,. but not top ; much so 

Maestoso . f . . \ .Majestically; dignified 

Maggiore . . . . \ .Major Key 

Marcato A .Marked 

Meno v.Less 



Meno mosso . . . .Less quickly 
Mezzo v Half; moderately 



Mezzo-piano (mp) . Moderately soft 

Minore Minor Key 

Moderato Moderately. Allegro moderator mod- 
erately fast 

Molto Much; very 

Morendo Itying away 

Mosso. Equivalent to rapid. Fiu mosso, quicker. 

Moto t . .Motion. Con moto, with animation 

Non .Not 

Notation .The art of representing musical sounds 

by means of written characters 

Obbligato An indispensable part 

Opus (Op.) A work. 

Ossia . .Or; or else. Generally indicating an 

easier method 

Ottava (8^ a ) . • . .To be played an octave higher 

Fause (/T\) . . . .The sign indicating a pause or rest. 

Perdendosi Pying away gradually 

Piacere,a At pleasure 

Pianissimo (pp) . .Very softly 

Piano (p) ... . .Softly J 

Piu More 

Piu Altegro . . . .More quickly 

Piu tosto Quicker 

Poco or un poco. . A little 

Poco a poco. . . .Gradually, by degrees; little by little 

Poco piu mosso . .A little faster 

Poco ?neno A little slower 

Poco piu A little faster 

Pot Then; afterwards 

Pomposo Pompous; grand 

Prestissimo . . . . As quickly as possible 

Presto ...... .Very quiet; faster than Allegro. 

Primo (Jfno) m . . . The first . 

Quartet . .... .A piece of music for four performers. 

Quasi As if; in the style of 

Quintet A piece of music for five per- 

formers 

Kaltentando (rail.) Gradually slower 

Replica. ...... .Repetition. Senza replica, without 

repeats 

Rinforzando . . . .With special emphasis 

Ritardando (rit.) .Gradually slower and slower 

Risoluto Resolutely; bold; energetic 

Ritenuto In slower time 

Scherzando. . . . .Playfully; sportively 

Secondp (Z d P) . . .The second singer, instrumentalist or 
part 

Segue Follow on in similar style 

Semptice Simply;- unaffectedly 

Senza Without. Senza sordino without mute 

Sforzando (sf). . .Forcibly; with sudden emphasis 

Simile or Simili . .In like manner 

Smorzando (smorz) Diminishing in sound. Equivalent to 

Morendo 
Solo .For oneperfo mer only. Soli; for all 

Sordino A mute. Con * rdino. with the mute 

Sostenuto Sustained; prolonged. 

Sotto Below; under. Sotto voce, in a subdued 

tone 

Spirito Spirit, con Spirito with spirit 

Staccato Detached; separate 

Stentando Dragging or retarding the tempo 

Stretto or stretta. .An increase of speed. Piu stretto faster 
Subdominant . . . .The fourth tone in the diatonic scale 
Syncopation . . . .Change of accent from a strong beat 
to a weak one. 

Tacet .. ."Is silent" Signified that an instrument 

or vocal part, so marked, is omitted 
during the movement or number in question. 

Te?npo Movement; rate of speed. 

Tempo primo . . .Return to the original tempo* 
Tenutojten.) . . . .Held for the full value. 
Therna or Theme . .The subject or melody. 

Tonic The key-note of any scale. 

Tranquillo Quietly. 

TremolandOy Tremolo A tremulous fluctation 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 the 
regular rhythm* 

Troppo Too; too much. Allegro, ma non troppo, 

not too quickly. 

Tutti All; all the instruments. 

Uw A, one, an. 

Una corda On one string. 

Variatione The transformation of a melody by means 

of harmonic, rhythmic and melodic changes 
an4 embelhshments. 

Veloce Quick, rapid, swift. 

Vibrato .A wavering tone-effect, which should be 

faringly used, 
.ith vivacity; bright; spirited. 

Vivo -Lively; spirited. 

Volti Subito VS. .Turn over quickly. 



HOW TO MAKE YOUR OWN REEDS 

While reeds of the best quality may now be obtained in music supply houses, 
some performers prefer to make their own reeds, and at least some knowledge of the 
process of reed -making or correcting faults is invaluable. (The figures interspersed 
refer to diagrams on following page.) 

First cut off a piece of cane the thickness of a half dollar coin (l) and of the 
size of the lay (3) (The part of the mouthpiece where the reed is laid and held by 
the ligature or reed-holder ). Then rub the inside part of the cane on abroad fine cut 
file until the surface is perfectly flat, after which it may be placed on the lay (3) and 
the screws of reed -holder tightened to ascertain if the opening (5) is correct. Holding 
the mouthpiece sideways against the light the opening (5) should extend downward about 
one inch. Remove the reed from mouthpiece and with a sharp knife trim down gradu- 
ally from centre (6) to top (7) being careful not to take too much off at first as later 
adjustment must be allowed for. The edges should be rounded from where the cutting 
begins (8) and show an elongated angle from the middle. The cane should be thicker in 
the middle (9) than at the edges (10). The thin end of reed can be shaped with a sharp 
pair of scissors or a reed-cutter. If , on trial, the reed proves too hard> file off the 
thickness at top of reed, sloping toward edges (11). If the top is already thin enough, 
file off between the centre (6) and the top (7), but with great care, for should too much be 
taken off, the tone will be spoiled. Then with a very smooth file file straight across the 
top of reed to a depth of g of an inch downward; this will leave thin part even and al- 
most transparent. Again place the reed on lay (3) and give a side glance at the opening 
(5); should it be too close, loosen the top screw of reed-holder and tighten the bottom screw. 
Reverse the process if the opening is too large. The flat surface of the reed (») may 
become warped and uneven, in which case rub carefully on the large file or on the fin- 
est sandpaper laid on a perfectly smooth or flat surface, preferably, plate glass. 

When left on the mouth -piece for a few days, all the small faults in a reed may van- 
ish; but the real fault may be in the mouth-piece, if located there take the mouth-piece 
to the maker or a repair shop for refacing. 

If the reed still remains too hard, adjust it on lay so as to show a trifle below top 
of the mouth-piece, (13) if too soft adjust it to show above the top (14), this experiment 
will at once show the defect. In the first case reduce the reed at end of the curve 
(15), in the second case, cut off the top (16) 

Future warping of the reed may be corrected by using large file or sandpaper, but 
carefully avoid making reed too thin at the heel (17). 



T-126 



// 



(16) 



(14) 




(13) 




(11) 



(17) 
,Heel (10) 




(11) 



''X15) 



(5) 



(1) 

Thickness 



Ligature 
or Reed Holder{ 




(4) 



(6) 
Piece of cane cut for one reed 




(17) 






(2) Inside (or the Surface) 



OJ) Top Screw 



Bottom Screw 



Mouthpiece Complete 
With cane cut ready to be shaped 




T-ltf6 



RUDIMENTS OF MUSIC 



Before the student can commence to play any instrument it is necessary that he should 
be acquainted with the rudiments of musical Notation. 

The signs, which indicate pitch and duration of a musical sound, are called Notes 

figured thus: o J J J 1 #H sJ etc. 

They are named after seven letters of the alphabet; C. D. E. F. G. A. B. and are writ- 
ten on, between, above or below five parallel lines, ===== called the Stave, the names of 
which are determined by Clefs, placed on different lines. 



For this instrument, only the treble or G clef JL 
cond line. *Y 

The names of the- notes on the five lines are: zj* j a 4 | 



is used, which is placed on the se 



E G B D F 



ot the lour spaces Q & t \ Q- 

between the lines: (k ^ 2* _^ J ' f — p- of the two above and below the lines -ffly- 



FACE 



D 



These eleven notes are insufficient to indicate the full compass of Sounds in use, 
ledger lines have therefore to be added, above and below the stave in order to "signi- 
fy higher and deeper sounds. ^ r A 



Notes of the ledger lines above the stave 
Notes of the ledger lines below the stave 



ABCDE F£ 



#p^ 



B 



f^f 



FULL TABLE OF ABOVE NOTES 



^ 



^^4- 



wm 



mz 



abcdefga BCDEFGABCDEFGABC 

DURATION OF NOTES 

Notes may be of longer or shorter Duration which is shown by the peculiar form of each note. 

Forms of different notes 



zsn 



¥ 



¥ 



P 



9- 



Whole note; Half note; Quarter note; Eighth note; Sixteenth note; Thirtysecond note. 



The latter three kinds may alsoc 
be written in combination thus: = 



r r r r r r= mr^m 



2*443-^ © 



Eighth notes; Sixteenth notes; Thirtyseccnd notes. 



3 



COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES 



A Whole note 
equals 
2 Half notes 

or 
4 Quarter notes 

or- 
8 Eighth notes 

or 

16 Sixteenth note* 

or 
32 Thirty second notes 



p 



p 



^ 



s 



^^ 



9 



S 



.*■ * > 



r r r r r 



mptmmmmm jrw 



-t — s — i- 



\ : ' . 



rrrrr r rrr 



mmmmmMmmmpmk mmm -*- * 



m 



BARS 

Notes are systematically arranged into bars, marked by one or two lines drawn across 
the stave. 

One line = 



is placed after each bar and each bar contains the same number or 



value of notes, and each bar must last precisely the same length of time. The end of a 
part of a composition is marked with two lines or a double bar, and if either two or four 



dots are found by the side of the double bar thus: — ^tfr — the whole part from the pre - 

ceding double bar, or if there is no earlier double bar then from the beginning of the piece, 
is to be played again. This is called a Repeat, 



RESTS 

Instead of a note a Best of equal value can be placed. 



* 



* 



i 



Whole rest; Half rest; Quarter rest; Eighth rest; Sixteenth rest; Thirtysecond rest. 

DOTS 

A Dot placed after any note or rest increases its value one half, thus: 
"(fe f \~ ' ls equal to P F or I 



p 



p 



or 



S 



to 



Two dot^ placed after a note or rest increase its value one half and a quarter or 

21443 



f2n 



like 



ae fpfp 



etc. 



TRIPLETS, SEXTUPLETS, AND ODD GROUPS 



Triplets are marked by a 3 being put over a group of three notes. Sextuplets 

are marked by a 6 being placed over a group of six notes. Three quarter notes marked 



thus F T T mus ^ ^ e P* a y ec * ln *h e same time as two quarter notes | F F 



marked; or six eighth notes f T T T T "H * n ^ e ^ me °^ *° ur e ighth notes f f f 

so marked. There are also groups of five : f f f T ~Tl seven 

notes 



not so 
not 



i p p p 



and nine 




etc. 



TIME SIGNATURES 



In order to know how many quarter notes, eighth notes or sixteenth notes a bar contains, 
special figures are placed at the beginning of a movement. 



Commo?i Time 



i 



£z 



Three -four Time 



Two -four Time 



s 



£ 



r r r r 



p 



p 



P=P 



Contains four quarter notes or the 
same value in longer or shorter 
notes or rests, and four (1, 3, 3,4,) 
must be counted in a bar. 



Contains three quarter notes or 
the same value in longer or short- 
er notes or rests, and three-djS,^,) 
must be counted in a bar. 



Contains two quarter 
notes etci, and two 
(1,3,) must be count- 
ed. 



TABLE OF TIME SIGNATURES 



Simple Common Times Compound Common Times Simple Triple Times Compound Triple Times 



£ 



m 



£ 



r> or 4. 



i 



s 



i K ° r S 



or ft or - 



m 



^ 



m 



gn 



te 



w 



m 



^^ 



When a line is drawn through the C thus: (£, which is called alia breve, twcf is count- 
ed in a bar. 



31443- ft® 



& 



SCALES 

The ladder-like successioh of eight sounds, starting from any note and ascending * 
or descending by tones and semitones in regular order, is called a Scale, and each 
note of a scale is called a Degree. 

Between these eight degrees there are seven intervals or distances, five of which 
are tones, and two semitones. 

There are two principal kinds of scales, termed Major and Minor, whose as - 
cension or descension is diatonical: i.e. in tones and semitones, and a third kind, 
whose ascension and descension is chromatic: i.e. only in semitones. 

For the present, only the Major scale will be discussed. In the Major scale the 
semitones are situated between the third and fourth and the seventh and eighth de- 
grees of the scale. 



EXAMPLE 



tone 



tone I semitone I tone 



tone I tone I semitone I 

» r r £ 



/istdegree\ /and\ /3rd \ /4th \ / 5th\ / Qth \ /_7^ / 8th\ 

Each diatonic scale derives its name from the name of the note on the first degree - 
or the root. 

There are twelve major and twelve minor scales; but not to burden the student 
with their combination at present, only the scale of C will be given. 

The distance from one note to another is called an Interval. Two notes 
placed on the same degree do not produce any interval, they are said to be in Unison. 

The intervals aie named: the Second, the Third, the Fourth, the Fifth, the Sixth, 
the Seventh, the Octave, etc. 

EXAMPLE 

2 3 4 I 



$ 



Degrees: 



6 7 " 

r f f 



¥ 



Intervals: Second, Third, Fourth, Fifth, Sixth, Seventh, Octave. 



SHARPS 



A scale may be formed on any note, but in order to produce semitones between 
the third and fourth and seventh and eighth degrees in any order but the scale of C 
major, it is required to employ certain characters, which raise degrees, or restore the 
pitch of any note in the scale. 

\One of these characters is called a sharp (jf), which, when prefixed tb a note 
raise!* it a half tone. 

\The number of sharps employed in a scale depends upon which note the scale is 

founded. 

21443-^ ® 



The sharps succeed each other in the following order: 
12 3 4 5 6 



T < J 



i 



i 



s 



pn 



* 



^ sharp y C sharp, O sharp, D sharp, A sharp, E sharp, B sharp. 



Thus it will be seen that if one sharp is employed it must be prefixed to F 
consequently all Fs in that piece must be raised half a tone. When two sharps are 
employed all Fs and Cs must be raised, and when three sharps are employed all 
Fs, Cs and G's must be raised and so on. 



TABLE OF SIGNATURES OF SHARP KEYS 



Number of Sharps: 



Names of the Keys: 



S 



fcA 



6 



| whk |«A, jM^M^Mh i 



D 



B 



n 



c* 



FLATS 



A flat (t») prefixed to a note lowers it half a tone. The flats succeed each 
other in the following order: 



i 



a 



3 



i 



6 



£ 



i 



P 



=fc 



P 



£ 



^//a#, ^//a/, ^//rt/f, i?//a^, £./7«*, C//«/, ^//«/. 



The same rule concerning signatures as with sharps is to be observed here. 



TABLE OF SIGNATURES OF FLAT KEYS 



Number of Flats: 

Names of the Keys: 
21443 -< 



3 



6 



i ii^ u^~n^i> iH i% ijg j ii 



Bt 



E!> At 



Dl> 



Gl> 



Ok 



*ft o 



THE MINOR SCALES 



Every major scale has its relative minor, the root of which is to be found on the sixth 
degree of the major scale. Both scales bear the same signature. There are two kinds of 
minor scales, the harmonic and the melodic form. 



THE MELODIC MINOR SCALE 

The ascending of the melodic minor scale differs from the descending, the former hav- 
ing its sixth and seventh degree raised by accidentals not essential to the key. In the ascend- 
ing, semitones are situated between the second and third and the seventh and eighth de - 
grees, and in the descending between the sixth and fifth and the third and second degrees. 



SCALE OF A MINOR 

Without Signature; Relative to G major. 
I tone I semitone I tone I tone I tone I tone I semitone I 



i 



4 



§E 



^^ 



l*t degree | |gq.d| \$r&\ | 4th | 5^1 |«tji | | yth | 1 8tji 



inl 



i tone tone I semitone I tone I tone I semitone I tone 

*f 



^ 



¥ 



8th 



7th 6th 5 th 4th 3rd 2nd ±st 



TABLE OF MINOR KEYS WITH THEIR RELATION TO MAJOR 

A minor E minor • B minor Fjf minor Cf minor G# minor D# minor AJf minor 



i 



* 



k 



H 



t 



trf 



m 



m 



m 



&* 



m 



I- 



G major 



G major 



i 



1 



D major 



A major 



a 



E major 



*t 



B major 



s 



Hi 



F# major 



Ctf major 



tfe 



1 



Dminor G minor C minor F minor Bt minor Et minor At minor 



Jr 



if 



fc 



fe 



feSE 



^ 



ite 



*= 



fe 



s 



^ 



^ 



F major 



fe 



Btmajor 

,1. 



Et major 



m 



At major 

k 



S 



v 



D I? major 



k 



m 



Gt major 

k 



m 



Ct major 

k 



« 



S 



THE HARMONIC MINOR SCALE 

The Harmonic Minor Scale differs from the Melodic, as only its 7th degree is raised 
by an accidental, which remains, whether ascending or descending. 



i 



i 



| l s .t degree 
21443-| ® 



* 



2nd 



I 



3rd 



4th 



SCALE OF A MINOR 



5 th 



6t.h (7th 



8t> 



7th 



6th 



5th, 



4th 



3rd 



f 



2nd 



i 



1st 



THE NATURAL Ij 

In order to restore a note whieh has been raised by a sharp(#)or lowered by a flat(l>} 
a Natural (l|) is employed which restores it to its original pitch. 



Thus (frjj F raised by a sharp is restored by the natural & lJ | to its original sound 



or 



m 



B flat to 



m 



B natural. 



THE DOUBLE SHARP* 

By prefixing a double sharp x to a note the same must be raised a whole tone. 

will sound like G natural 



Thus F double sharp 



IP 



^ 



THE DOUBLE FLATW> 
A double flat M> prefixed to a note depresses the note a whole tone. Thus ~CT^f" 



BW> 



(double flat) will sound like A natural 



M 



THE PAUSE /C\ 

A Pause /T\ placed over a note, means that the note can be sustained to an indefinite 
length at the performer's pleasure; the counting being interrupted- 



jv-ij'i 



/T\ 



/C\ 



^ 



w—f- 



m 



/?\ 



3E 



P¥ 



£ 



"Tf" 



THE CHROMATIC SCALE 

Consists of a succession of semitones, which, in ascending are designated by sharps, 
and in descending by flats. 



A Thus: | ^ 

<jJ^4i|iJ|J -' 'H 'i' 'i'l I "' r 



etc. 



f'ff f'T-r'T r fc r rr'r ^ 



EF^ 



etc. 



^ 



^ J JU Ji,1 



21443- ft @ 



ABBREVIATIONS 

Abbreviations are employed in written music to avoid repetitions of a single note or pas- 



sage. 

Thus instead of writ- 
ing four eighth notes: 



Or^ 



for 



and 



P 



m 



i rrrn 



a half note marked 
with a thick line: 



p 



will indicate the same. 



m m m 



or 



^for ^^^^ or^ 



for 



etc. 



Or instead of repeating a bar alike 
a sign marked thus 



3B> 
/I 



/. is used: l[j LI LLLfl g 1 etc 



TRANSPOSITION OF THE KEYS 

When C is taken as 1, the scale or key is said to be in its natural position; but either of 
the other letters may be taken as 1, in which case the scale is said to be transposed. As 1 
is the basis of the scale, the foundation on which it rests, so the letter which is taken for 
this sound is called the Key-note. Thus, if the scale be in its natural position, it is said to 
be in the key of C; if G be taken as 1, the scale is in the key of G; if D be taken as 1, 
the scale is in the key of D- and so on with the rest of the seven letters; which ever letter 
is taken as 1, that letter becomes the key-note of the scale. 

In transposing the scale, the order of the intervals or tones and semitones, must be pre- 
served. Thus, the interval must always be a tone from 1 to 2, a tone from 2 to 3, a semitone 
from 3 to 4, a tone from 4 to 5, a tone from 5 to 6, a tone from 6 to 7 and a semitone from 
7 to 8. The interval from one letter to another letter is also the same and cannot be changed^ 
thus it is always a tone from C to D, and from D to E, a semitone from E to F, a tone from 
F to G, from G to A, from A to B, and a semitone from B to C. In the transposition of the 
scale therefore it becomes necessary to introduce sharps and flats, or to substitute sharped 
or flatted letters for the natural letters, so as to preserve the proper order of the intervals. 



First transposition by sharps from C to G, a fifth higher, or a fourth lower. 




1 


2 


3 


4 


5 


6 


7 


8 


G 


A 


B 


C 


D 


E 


F# 


G 



The same method is followed in the transpositions by sharps, viz:' the fifth above or the 
fourth below is taken as 1 of a new key in every succeeding transposition and an additional 
sharp will be required in every succeeding transposition. 

To transpose the scale by flats, we take the fourth (instead of the fifth) of every new 
scale. F is the fourth of C; hence it is 1 of the new scale (key of F.) The order of intervals 
must be the same in the f Jat key as in the sharp,- hence the B must be made flat. 



21443^6 ® 



It is clear that there must be a tonal difference between the third from C to E and the third from 
E to Ek It has been stated that the tonal difference between two notes on adjacent degrees of the 
staff is not always the same, likewise intervals of a third, fourth, etc., vary as to tonal content. 
The third from C to E is called a Major (Large) Third (2 full Tones), that from C to E\> is called a 
Minor (Small) Third (l tone and a Semi -Tone). This classification of intervals belongs properly to the 
study of Harmony and does not necessarily concern the student now. It will be sufficient to make 
the transposition by intervals as directed, and remember the scale of the new key we are playing in. 

DIFFERENT SHADES OF TONE 

j} means: piano, soft 

J?p means: pianissimo, very soft 

y means: forte, loud 

ff means: fortissimo, very loud 

nxf means: mezzoforte y moderately loud 

cresc. or - ' means crescendo, increasing the sound 

dim. decresc. or - means diminuendo, decrescendo, diminishing the sound 

sf> rf or > means sforzando, rinforzando, sharply accentuated 
fp means: forte -piano, loud and immediately soft again 



GRACES, EMBELLISHMENTS OR ORNAMENTS OF MELODY 

THE APPOGGIATURA 

The appoggiatura is a grace note placed above or below a principal note. When it is placed 
above, it is always at the interval of either a tone or a semitone. When it is placed below the 
principal note it should always be at the interval of a semitone. When the- appoggiatura is 



written so 



p§p 



the value of it is one half of the following note. 



When crossed by a small line, thus: 



PSP 



its value is but one fourth of the note that 
follows it. 



EXAMPLES 



Written thus: 



Played thus: 



f i Jjri J -rrH i W Jl ^ J u-'r n\" J i-'r"f^ 



■( Ijkj^ 



rrMrrcf^ij^rnr r-tirrcf-j-!. 



& 



There is also a double appoggiatura which is com- Written thus: 

posed of two grace notes placed: the first, one degree be- EXAMPLE. 

low the principal note, and the second, one degree above. 

Played thus: 



21443 -ft © 



P r g r J 



4 n ujf S J 



THE GRUPPETTO OR TURN 

Is composed of three grace notes placed between or after a principal note. The turn is marked 
thus: c/d. A small sharp placed under some of the signs thus: <f indicates that the lowest of the 
three grace notes is sharpened. Should the sharp be placed above the sign thus cS>, the upper 
grace note must be sharpened; or in case of a sharp above and below the sign Jd, the upper 
and lower grace note must be sharpened. The same rule applies to flats, only that the grace 
notes must be lowered half a tone in that case. 






EXAMPLES 



As. written 
As played 



With sharps and flats 



£ j* effort"-, r 


lr Cii "I n 'I " n l "i M "i 

iVrV^f*^ ||^y^ ;j WirfZ^^ „ hl^^Z-^^ 


^'"' fed 


^F -aSSgU ' 


i[rjflf[rr '[flgrfriLmufi 'M> 






THE PASSING SHAKE 

The passing shake, often written thus av, must be played quick and round in the following man- 



ner: 



As written 
As played 



fi'rrr I rr i m 



J-^rfrr 



=5?= 



THE SHAKE 

The shake or trillo, marked thus ir consists in the alternate repetition of the note marked, 
with the note in the next degree above it. 



As written 



As played 




EXAMPLE 

7T> 



j * - LLLHimf^ 



^2_ 



rrrrrr rrrrrr 



Chain of Shakes 




21443 



26 



Improvements added to the 

Evette and Schaeffer System of Saxophones. 




First New Patent Key of High Bl| and P. 

The notes El] and F above the staff are obtained upon all Saxophones 
by using simultaneously three or four keys; the hand to catch these keys 
must quit its natural position; and to return again is very difficult. 

With Evette and Schaeffer's new patent key S they suppress that dif- 
ficulty as shown in the following examples. 

The key shuts automatically the plate (or plateau) of the first finger. 

It is very easy to see the many advantages of this new fingering. 











I \\ i fa rfiirfff l 



;£.•;£ 



Note: See Exercises for this new fingering on pages 90 c£91. 




Second New Patent El> Key. 

The passing from Bl), CI] and Cfl to El? is very difficult on all Saxophones, 
and requires great practice and study; various mechanisms have been tried 
in remedying this inconvenience; Evette and Schaeffer claim they have 
thoroughly succeeded by obtaining the emission of the Et through the hole 
of the El). 

The E[> is obtained by lowering the plate 5 b i s with the second finger 
right hand, third finger being raised. The little finger, which usually 
takes the El? key, thus remains free and the passing from Bl|, 0\ and C# 
to El? becomes quite easy. 

Note: Se4 Exercises for this new fingering on page 75. 




Last Improvement on the 

Evette and Schaeffer System of Saxophones. 

Three New Patent Keys for the Low Bl>, Blj and C#. 

Owing to the successive improvements made by them to the Saxophone, 
the fingering- of that instrument has become very easy. 

But it remained yet a question to be solved, viz: how to be able to obtain 
the low notes with both hands. However, nothing was more easy, but that 
ought to be met with. 

Such question to-day was solved out, since, without any new mechanism, 
the three notes, low Bt, Bl) and Ctf made by the lijttle finger of the left hand, 
are also made with the second (or middle) finger of the right hand, by 
means of three double spatulus. 
It is easy to account for the fact that; since these three notes are made indifferently with both hands, 
thence all the most difficult passages become very easy to be made out. 

Note: See Exercises for this new fingering- on pages 197, 198, 199 & 200. 

Copyright, MCMVII, dy CarFFischer ,lVew York, 



-♦ — •- 

a 

-e- 



oB o 
II 

-• — •- 




10638-144 



N 



Preparatory Exercises 

For the Production of Tone and Forming the Embouchure. 



27' 



e/ 



tt 



Note: It is taken for granted, that, the Student has already made himself acquainted with the Rudiments 
of Music. 

Observation: Each note, in the following- exercises, should be touched softly with the tongue by pro- 
nouncing the letter Tj the breath must be emitted evenly, so as to produce a long and equal note.. 

Each exercise between repeat- bars should be repeated till the execution is perfect; and be finished 
with the note surmounted by the pause: (/T\). 

Exercises. 

Pronounce the letter T for each note. Breath should be taken at the sign: (?). 

m 






1 I fl"ufl 2 I - I ' -I I ^ II i=3g 



_ A 

Names of the ?wtes: G 

T I 



-&- 



,.i 



/T\ 



~o~ 



-o- 



DDE 



DOC 



-O- 



331 



B 



J T_ 



33C 



-O- 



IXH 



I 



^ 



»• (ji o 1 " = 



■j /rs 



ir 



11 » 



* Keep the Octave-key N? VII open for this D and 
the E, F and G. 

? 5 



8. 



• ^ > o 1 ° 



^ 



xr 



^- 



m 



*D 



'M 



w 



~cr 



"or 

D 



ice 






" il o 11 9. g > o | „ 



TJ" 



TT 



DOC 






3^ 



jDE 



C\ 



10 



ZEE 



30C 



DDC 



-©- 



3lH 



E 



11. 



12. 





T 




5 








) 








5 


en, 




> 








> 








5 


/?N 


^ 


f 








*~% 


4» 




41 










■ 


-^ 


* — — 


._ — . 


— o — 


i> 


■ v» 








■"'^J 


»» 


O 


• 
— n • 


| 


-^ 


5— o — 
























1— <* — 


*J 


F 


^ 


r 










*Y 








41 


£>, 








i 


"ft 






— o — 


it 


%** 














il 


— <© — 


i 


J 


"^ 


^— « — 




























f— « — 


# 
























G 

























** 



Keep Key N? XII open for this A and the following high notes, and close Key VII. 



13. 



- 


rt ^ 


) 




5 

CI 


O 


5 
11 


. O ,i 


5 
o 


-»• 


o> 


1 O | 


5 

41 


o 


5 

4% 






1 




*-<»- 


C»" 


%>' "■ 










* 


*A 












VF ' 


M * 


W~ 



14. 



_. 


i ^_^._^__A*__o__!l o__o__^__^_^ ,i 




B 



10638-144 



28 



Use no more pressure for this *C than for the C in the third space of the staff. 



15. 



fi T > ' ..' o o' ♦ ^ ~ ~ «* o\ > r .>. > . /* 
-y* — -tht— e — " *■ — e — rr- — H 


5 


«J o 0__i£ ^ "-if-© 

*c 



Diatonic Scale of C major. 

This sign X/ shows where the half tones occur. 



i 



_T > 



jOL 



XX 



16. 



XXI 



XE 



xs: 



o ' Q 



# 



V 



XX 



3T 



/r\ 



rs 



-o- 



X3£ 



^^= 



-©- 



~€TT 



Tr" 



"O" 



Exercises on Intervals. 

Thirds. 

Give a lighter pressure on the reed to produce the lower notes. 
T > ? ? ? 



17. 



3CC 



331 



331 



~Tf~ 



JCJC 



DCC 



-cr 



-OH 



"O" 



Pass from one note to another without pressure of the lower lip. 



4 



ZEC 



XX 



JQL 



-e r 



331 



Key VII 

open. 



Key XII Key VII Key XII 
open. open. open. 



Fourths. 



18. 



19. 



~ti 


5 ^ 


— H— 






> 












<«*Tk 


it 


H*- 


r°~ 


> 


o 


> 
II ° 


5 




o 


■«- 


4 

«, 

-* 




1 o " o 

— 11 — 


> — 1 




1 


— < 


e — 




tl 

41 


■-o- 


Fift 

— 


hs. 
J — 


1 — 

J 


"°n 


41 — 


rr~ 


^¥ 


^- 




t 


e: 


^ 

XX 


> 


1 O || 


4 


}— €►- 




4 


1 




F 


L»- 


11 






-©- 


K 


— II 




-^4- 




Ir- 

















Sixths. 



20. 






' ' > > » o ■ '.. ■ o 



? XX 



XX 



AT. 



Tl 



XX 



XL 



-O- 



XX 



-o- 



xx 



Bt| 



Sevenths. 



21. 



#^h 


■ O 1 








o 




CI 




? 








if 


XX 


o 


-o- 


#=^ 




o. 




' o ' 




o 




-*=*» 


° II ° - 




— O— 













10638-144 



29 



Octaves. 



oo -/£ 


fj T J > > , 

K 1 o 1 1 o | -| 1 " \ h 1 ° 1 n 




D— — 1 1 II — 1 1_ — Le — 1 1— ^e — U— " — 1 1 it— H 



i 



jQl 



~Tf~ 



IE 



HH 



3t 



Ninths. 



23 



j 



T5" 



JE 



~or 



-o- 



^F^F 



_o_ 



"TT" 



-O- 



zcr: 



HE 



331 



24. 



# 



Very softly. 



Shading. 

Softly. , Half loud. 



-o- 



Loud. a Very loud. 



PP 



P 



m: 



if 



f 



J? 



25.: 



iii 



i> 



^ 



g 



r i r J i r r 



zz: 



/ 



^ 



* 



g 



/z_ 



^ ^ 



^ 



£ 



3T 



i?p 



j^ 



# 



Crescendo: (gradual increase of tone.) 

t y > 



26 



3E 



IT 



JtH 



~Cf~ 



p^==Zf J>— =/ P— =/ *— =/ *— =/ 



* 



IT 



HE 



-O- 



_€E 



_£*_ 



JX *X 



2>^=f P ==/ P-==f P-==f P—=f 



4 



he 



3n 



"O" 



-cr 



2> 



-f P-=f 



P- 



-f *— =/. P^^f Pi 



=/ 



10638-144 



30 



Diminuendo: (gradual diminuition of sound.) 

T *> *> *> 




-o- 



TT 



ST\ 



f-- 



3> f-- 



5 r= 



-P 



3CE 



ZSXL 



IQ= 



3DC 



"O- 



f~- 



f- 



-4? 



/= 



-P 



r- 



-p f=—p f-. 



-p 



i 



Crescendo - Diminuendo: (increase and decrease of tone.) 

m • 5 5 ? 



28.^5 



S^^p V^f^P P^f^P B~~f=~P P~=f=~P 



4 



TF 



JOC 



H3C 



SSE 



351 



-e- 



p^f~~p p~~^f=~p p~=^f=~p p^===Lfi^p p^=f==~p 



4 



o 



p^==f=~P p^==f=~p p^^f=~p P^=zf=~P P^=,f=~p 

Exercise to Acquire Evenness in Passing from B to C. 



i 



29. 



331 



ZEE 



30EI 



rru'r ' rr i "'rrrrirrrr ' rrrr 



331 



Exercises on Time. 

The Student will now observe the value of the notes. 
Common or Four-four time. 

-F ¥- 



i 



&- 



_0- 



30 



3E 



r r ' n 



3lE 



CVw/i? mentally: 1, 2, 8, 4. 1, », 3, 4. 1, 2, 3, 4, 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. /, 2, 3, 4. 1, 2, 3, 4. 
V -?■ > > 



i 



u m m 



i r Mr r r i r r r 



fJ 



-O- 



12 3 4 

T. T 



$« n r i ^ r r i rr , | J rr i r rr iJ , r rr i rrrirrr'rt i 



1,2,3,4. 1,2,3,4 



31. 



Covnt: 1,2,3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 

10638-i44 



1, 2,3,4. 



31 



Two -four time. 



•j >* P If 



i 



s 



32. 



£P 



J | # 



i 



<7oww/; 1, 2. 1, 2. 1, 2. 
T T T) ? 



^^ 



t9- 



w I p ip ja 



£ 



33 



i 



P 



taw*/: /, £. /, £. 

Three -four time. Observe the notes with dots placed after them. 
T T T % , 



i 



34 



35. 



^ 



fir " r 'f 



A C * 



cz 



Coww/; i, ^ 3. 1, 2, 3. 1, 2, 3. 

T T T ? 



i, 2> S. 



^m 



rrtrr i rrr i crr i 1 r r i r m ' i i ^ 



m 



Count: 1, 2, 3. 1, 2, 3. 

Six-eight time. 
T 



1, 2, 3. 



1, 2, 3. i, 2, 3. 



Count: 1, m2. 1, 2 



1, 2. 

9 -^ 



3 6. rf)i f Pf p i jr-V^r^rrV^ririrriM%% 



Count also: 1, 2/3, 4,5, 6. 1,2,3, 4, 5, 6. 



1,2,3,4,5,6. 



Exercises in Slurring. 

These exercises should be played at first slowly, and when the fingering has been acquired smoothly, 
they should be repeated many times, gradually increasing in speed. 



■.ife 



Tongue only the first note of the Slur, and continue the tone till the second. 

T 3 T ? 3 5 > 5 l_ 



37 



V' o 



i I <% I o I o I ■ V 



id: 



jcsz 



-o- 



o ' o - 1 — * 



"O — ^TJ 



-o- -o- 



o o 



4 



Count: 1,2,3,4. 1,2,3,4. 



3 * 



-O — i — & 



_0 . fit 



^ ? -<^^Q. 



-»- 



-o- 



O [ , Q 



if 



-O- 



~CT~ 



~o~ 



i 



il ± ± il il ^ 



o . o 



ZSS1 



zssz 



-o- 



~n~ 



Tongue first note of the slur. 
7! y T y_ 




J J ' o J J ^^ 



\ 



10638-144 



taww/; /, ^ £#. 1,2,3,4. 

y > 



"O" 



"77 



^ 



-vr 



i 



r i » i rr'° i . r n 



33: 



32 



39. 



• rt" p M^'iff 



: P=e : 



Q n 



f?r \ t?r \ ? 



' '±^' 



. Count: 1,2, 3, 4. 



,rff i Vrr i fr 



P-& 



TJ- 



TJ- 



jcc 



PiiP? 



ax: 



40 



.ill 



r '» i >'• p i r r i r r i r r i f 



Z2I 



^ 



221 



a?ttft*; 1, 2, 3, 4. 



#j#^# 



rr i rrr f i r f i ff i f r i fr 



f r if r if r if> i f" 



7T *^T" 



mm 



3E 



i 



^^ 



fel 



41. 



z?: 



r i r-'if r i i r 



Count: 1, 2, 3,4. 



rf?rf|fr | ff | rf i ^f¥ 



221 



221 



^C 



JZL 



T2Z 



? 



3DC 



M 



Observe the Rests. 



Seconds. 



42. 



I 



S 



J J UJiJU --M 



3=Z2 



Comw/: i, £, <?, 4. 1, 2, 3, 4. 1, 2, 3, 4. 




j^ijjjjjj - i ,J r i J r J r TJ- i r f i 7rrf i r- 



<f rrifrfTir- 



^ffftf 



& 



|ML# 



zz: 



•&- « ♦ 



^rT i rfrrrr-irr i rrrr i r. | fF | ffrf | f- | ff | rrrr 



10638-144 



33 



i 



£ a ff. 



^ 



rrfr i f- ifnrrrrif- 



43. 



3E 



'&>««*•• /, £ 5, 4. 1, 2, 3, 4. 1, 2, 3, 4. 



dgrnrrrr i r- 



22 



P m \ P 



TjC 



&~-=r 



P»P 



# 



J irJ^JTr * I J J i JJ ^^g 



Z2_ 



r i rrrrii" i r' ; ' r^r w| r 



*^»-^ 



3i 



ArUiUjij 



zt^ 



#-«-* 



-^ 



-& 



w-~-* 



-G- 



77 



^* 



$ 



T ) T 



44. fttt f r | rrfr i r - | r ,')| r ^ 



7^- 



~zt 



i 



Co««/: /, -2, 5, 4. /, ,2, ^ 4. 
) 5 



^^ 



1^^ 



2« 



77 



XZ 



^ 



6* 



13 



i 



JjUjijU "UJ ^Plgg 



IZZ 



T7 



^ 



i 



JJ l J - I <j~p | Jf Jf 1^ 



fi^r^r ' ^'Tfrrrnr 



yJ-g 



♦J"* 



B 



XZ 



* 



5 r 



Thirds 

.y y 



JirJ l r'JJr l JJrJ l J J l^Jj^UJJ 



> 5 



45. 



* r ^ 



r ;l i rr j n j rr j i r j T w; r ' ^r 



Count: 1,2,3, 4. 1, 2,3, 4. 



pi 



,i j i jjjJIjJJj I Jj I jjjJ I j ^ 



^.Jijj'jiJi'i u/ ' iJJi '-' Jff 



> > 



> . y 



i jjJjijjjJi.iJ 'i M ' ii i n 1 1 1 1 i jJfjir^r ' j nff lg 



1063S-247 



34 




Count: 1, 2, 3, 4. 



A T^JfT-'r mt^m f r rflrrr 




i 



m c . , p m p?> p r p ■ rp »r . -^ 



» r i* 



rrrfTrrfr i rrrf i rffriffrf 



^r" — -^ '£ 



frf|rrfr | frrf | rrrrifrrfirrrr i rrrr i rrr 



47.3SE 



ta^tf/; /, 2, Sj 4. 



i 



rnrrrrirrrrTrrr? ifr 3 n J rr J l r Jj r ' jJ r-" J -jjJj 



w — r-+ 



S 



m Jd*m 



m 



JJJ'JJ^'JiJJ ' JiJjU 



i 



t ? r. 



Fourths. 



5 5 



Jr' I rM I r^ J I rJ^^ltJ J I^JJI JJJ 



? ? 



48. 



tt V r 



r * i rr JJ iM J r'r^r JJ ^r 



-& 



Count: 1, 2,3, 4. 



i 



Jj^'jJ. * vJj'^JJ 



ijU'UJ^ 






$ 



3 



2 






rMr'^rn^r i^ 



IZZ 



< 



9T 



49 



i 



s 



t 



p^ 



JLL 



Count: 1, 2, S~T- 



3 » J J 



1 



r r i r i r i I r ^ m 



i tn r i J rr 



^fr- 



IZZ 



fr'rTr i r r 



f i r r 7> frfir f ir ff 



10638-947 



35 




Count: i, 2, S, 4 



4 



W=0- 



n- i i r irrr J ir ''irr JJ i r J 'r 






# 



r\ i n.] 



£ 



Ji | J jjjiJij' f 



Fifths. 



I 



>T 



2 



mmi 



51.^ 



1 



rfMru^ i r'^uf 



*=S 



? 



Cow?//; i, 2, Sj 4. 



4 



i 



J 1 p TTp Ji 



i(U"UJ^J 



« 



£ 



-fit- 



** 



I 




Z2= 



rirrrnrrir rni 



uz 



N i rr J ' JJ rr 



ppp? 




Count: i, 2, 3, 4. 




.fTTr-,'rff^7 ]\' r fy i^^ nrf ifrrm f | 



frriin ^ i r r ini r j rn nf 



TT 



m 



m 



i Tn f f tjltt i r ,J T7u~r 



32 



JJ ' i d| i 



10638-247 



36 



53. 



Sixths. 



i 



m 



P 



9Z. 



( P ' o I ™ 



% 



P 



£ 



3 



Cou?it: i, 2, 3, 4. 



m 




4 if i 'JJ^ ^ 



mm 



r i rr i fr J U J rr 



rrunr 



zzz: 



g 



i 



3 



ZZZ 



^ ) 
&-P- 



O ■ a 



\> ^ i i rrr i J rr 



IW 



^ 



i 



i 



?^ 



^ffi 



54. 



3£ 



iJ^ | J 'i 



^ 



PSP 



** 



Co?^*.- /, £, <?, #. 



i 



i 



Si 



r i rr,iirrr J i Jj r^ 



^^ 



pp 



Z7 



##^£ 



fii^g 



fel 



r i fr P i frrrTrrrrl 



zzz: 



w 



^^ 



5^ 



£ift 



rrnrrrnrrr 



55. 



ft- "ft 



^ 



Coww/; /, ^ <?, 4. 



frrin rr r i| ir nirTTTf^ 



i 



rrrn rrr 



=§££2 



3 



3 



P»? 



rirr'^Jr 



r'^ujr 






W-ft 



# 



s 



P^P 



jij^ijjjjujp i 



^"^ 



10638-247 



* I » * 



56 



•^S 



Sevenths. 



37 



p§ 



Co«7//; /, 2j 3, 4, 



p 



5 T 



n 



m 



$ 



mm 



5 T 



JpTTp n« 



^ 



a 7 
"*v — ^ 



j jj-n-rr ' J c'r 



4 



W 



? 



i 



p£ 



S=S=PZ 



zz 



221 



r.rr J i JJ rr 



^F 



-^ — o- 



i 



^^ 



^ 



£p§ 



p^ 



^ 



p 



# 



57. ^p 



5 2", 



ru r' i ^ 



P=§=E^ 



<* 



Count: 1, 2 j 3, 4. 



$ 



i 



i 



r i rrru rnrr^ 



rrr u rr i r JJ 



J * 



#S 



5=F 



rr u rr 



frr i J rr 



pp 



p 



i 



fe^ 




p£ 



£ 



.^^ 



-^ 5^ 



fmrrriT 



58. 



£P£? 



tattw/; /, ^ <?, #. 



# 



£ 



ir-' i rJf i irr 



j j i f jj 



£PPP 



£S 



§S 



i 



i 



■^ 7* 



rrr i rrrr 



Z7 



P£S? 



p¥p 



S3 



# 



£ 



M^OTJ 



-& 



&3 



10638-247 



38 



Octaves. 



59. 



* 



T ? T 



i 



• i rjT 



3 



" i jj i ^-thu ' J 



w 



o * 



w 



4 



Count: i, 2, 3, 4. 



i 



^ 



Efe 



^ 



P 



P 



PP 



£ 



e 




* 



i 



rr^-ujuru 



m 



w 



* 



>^ 



i 



60.S^ 



^^ 



rrnj rr 



? 



i 



Count: /, 2, o, 4 



i 



i 



i 



m 



m 



F? 



W 



izz: 



~& 



^rrr^iJ' J 



tefcg 



s 



^ 



PP^PP 



£^^ 



€3 




>T 



6i. jw rrrrirr rr ir rr irrrr i rrrr i rr rr i r r r 



w=^ 



Count: I, 2, 3, 4 



^rrrnrrrJ i rj 



i 



£ S£= ^ 



PP 



rr' 1 ' t 



£p 



I r> r r r i r 



i 



i 



3 



rrrirrrr 



zz: 



p 



*=* 



< Tr>r3 



s 



i 



i 



PPP 



i^pi 



10638-247 



39 



Progressive Exercises on Time. 



Observe the Rests. 

Common or Four-four time. 

T T 



i 



62. 



P j- r ' r 



iS»-=- 






^ 



^- 



& 



Cow«*; /, ^ c?, #. i, £, «?, 4. 

T 



rr^-> 



^m 



^ 



i 



g 



-©- 



^-=- 



IZZ 



• ff » i j 



rr i rr J r' J ~ ! H 



63. 



m 



m 



i 



Cowwf: /, 2, 3, 4. 
T 



¥& 



rfr'f - ; « 



r'r- Nr 



p 



E§£? 



T 7 T 7 



J2- 



64. 



' d * 



P 



P 




* 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 




(1 ' j 



1, 2, 3, 4. 



Syncopation. 



T t t 



65. gjK j j riff i 



f mjJ r i rr Mfr J i J J j: " 



Count: J, 2, 3, 4. 1, 2, 3, 4. 



im 



wm 



s 



# a 



m 



Z2Z 



^^ 



Three-four time 
T 




Qount: 1, 2, 3. 1, 2, 3. 




ps 



rnvJ r 



IZZ 



Z2I 



SI 



10638-247 



40 



67 - P T ^ m \\ ' i^jjin i ij . u u 1 



Ow*;.* Y, £, ,?. 1,2,3. 



^m 



^EfrTiJr 



* 



pi 



s 



HP 




Hi 



Three- eight time. 



68. ftt f 



wm 



i=t 




# 



s 



Coww/; y, ,2, 5. /, ^ 5. 
Six-four time. 



*, 2, 3. 



*, 2, s. 



m 



69. §1 [ 



^ 



^ww/; /, 2, 3, 4, 5, 

m 



pp=s? 



r rrr rj 



* 2, 3, 4, 5, 6. i, 2, 3, 4, S, 6. 



^ 



£ 



£ 



70 



• 3?3 



12 3 4 5 6 

Nine- four time. 

Count: 1 2, 3, 4, 5, 6, 7, 8, 9. 1, 2, 3, 4, 5, 6, 7,8,9. 



mmmmm 



/. i? o * \ 



Count: /, 2, 3. 



fr^-^f 



'* 2, 2. 1, 



Q «_ 



& 



2, 3. 



m 



1> 2, 3. 



*, 



2, 3. 



Nine-eight time. 



i, 



2, 3. 



i, 



r r j r r r m " ^ 

* *. y. 2. s. 



Count: 1, 2, 3, 4, 5, 6, 7, 8, 9. 
T 




1,2,3, 4, 5, 6, 7, 8, 9. 



JfT l J^' M'^J d fTJ' l U-l Mj I p l | ^H I 



10 638-247 



t 



Observe the Articulation. 
Twelve-eight time. 

Count: 1, 2, 3, 4, S, 6, 7, 8, V, 10, 11, 12. 
T_ T T^—_ T t T ? T 



41 



^ 



72. ^^ 



W 



# 



Count: 1, 



*, 



3, 



1 



/, 






&=^ 



3, 4. 



W— P P m ± \ —^ 



ttj \ ' p J ' i r- r' i 



^^ 




§ 



i 



p^? 



»p 



Six-eight time. 

.Cowaf; /, 2, 3, 4, 5, 6. 



m 



i> 2, 3, 4, 5, 



£ 



m 



73. 



fr r t i r 

2. 1, 



f 



w 



? 



^E 






JHr^rTrN-. ^^ 



pr jl i r j'lu 



P i ' P ' r p J 



m 



4 



i 



j)f~p iO 1 ' P ir p Q ir r P * v : i i 



i 



Exercises on Dotted Notes. 



74. ^ n J- J if r' ' r r r " p i r ^ 



zzz: 






?0«»/: 1,2, 3, 4. 



1, 2, 3, 4. 



jr- f rn^n ii r p riiii tniijmrfgji! 



is 



/, 2, 3, 4. 



75. 



^ 



*==* 



m 




Count: /, 2, 3, 4. 



r ■- ' cuj 



.. 



^ 




2? 



^ 




P 




fe^E 



^ 



J^ i -rrrn - irrP| i H ^r i rTfrr ir-ii 



AMj j i pW 



Count: I, 2, 3. 
10638-247 



42 



4 



ii- ¥$ r p 



i 



Count: lj 2. 



1, 2. 1, 2. 



Fir m 1 " p- i cj cr'i r J 



^r Mr?r7- i fP i r-j'[j- 



p 



* 




iLrir-U i cU l 



78. 3P 



i 



Count: 1, 2, 3. 1, 2, 3. 1, 2, 3. 1,2,3. 1, 2, 3. 



^•r, 




i, *, 3. I— 



»♦ • 



^^ 



4 *, <?• 



*7n 5? 


.Count: i, 2, 3, 4, 5, 6. 1, 2, 3, 4, 5, 6. 

F-6 m m F' f F \ m m \ 1 F F f P J P if P f f ■■ *. 


79. -«V-«- — ^ ' =— ' *— 



Count: 1, 



2. 



1, 



2. 



1, 2, 3, 4, 5, 6 

m. 



12 3 4 5 6. 



IS 




T0- 




P 



/, i!. 



1, 2. 

Exercises on Rests. 



The Rest on the first beat. 



80. 



4 



se 



Count:!, 2, 3, 4. 1, 2, 3, 4. 



rrurrrnrrrm ^n 



rrf i ifrr 



1Z2L 



| ^rrrijrrr i <rrr u rrn/rrrurrru[^ 



p 



81 



•^^ 



The Rest on the second beat. 



3? 



ta«»/: 1, 2, 3, 4. 1, 2, 3, 4 

I 



f<trnr<f r i ^rnr<rr'r^ 



p , • 



r^rr i 1 n n i m rn *rrir<rr ' r*rr i f-» 



10638-247 



43 



The Rest on the third beat. 



j?« Jf ir \ {{it \ f{t{\{rir \ rrtr\rri[\[{iUl{ 



82. 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 



$ r r <r i rr*rTr<rir r*r i rr*nrr* r ^^ 



vo=± 



The Rest on the fourth beat. 



4 



rrnrrrnrrr^J-T^rr 1 i 



i 



83.33e*E 



W=l'- 



fcs 



* — m 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 



$ 



rrr'irrrnrr^irrr' i rrr'in'rHrrr* 



i 



The Rest on different beats. 



tn*r<r i rrtiur- 



84 



mm 



± 



m 



m 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 



I }^[\i^i \ }^i \ 'u^i \ Jji[ \ i^( \ i r*r i fj" 



Eighth Rest on the first and third beats. 
T t T T 



85 



j T , , T 



S 



* 



^m 



Count: 1, 2, 3, 4. 



4 y j j j 



-y- i *^ _ 



^ 



* 




iN 



s 



s 



^^ 



10 638-247 



44 



m iv f> i riH ii' l? iii7H 'S? i ^ i :n i : . ? ir 7 T B ^ 



J i i'iiTi Hr r rr-Tfrj' : iC!ir fc [!cEir i n, crr | r"r 

/, 2. 1, 2. l, 2. 1, 2. 



i 



yr J> 



£#^i 



§£ 



87. 



TT 



^ 



m m 0- 



P3 



Cfl?^/; /, £. /, £. 



# 



p y iLr i r v r ' cX-f y ' e x r v 



s 



^ 



§=p 



88. 



ill 



»>, gg J 



[fl^l^U 



crcji&rr y i yJJ cp 



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Twenty Progressive Exercises. 

For Saxophone. N % 

The Student should play all the following- exercises slowly at first, until he is certain of the finger- 
ing. Repeating each over and over again, he should quicken the tempo, so as to acquire facility of ra- 
pid execution, and never proceed to a new exercise until the one in hand has been mastered. 

PAUL de VILLE. 



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129. pg \ J 



Preparatory Exercises on the High Notes. 

Thirds. 

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Chromatic Scale of the Saxophone. 



57 



Ordinary System. 



PAUL deVILLE. 



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1003S-247 



Copyright, MCMVII, by Carl Fischer, New York. 



58 



Major and Minor Scales in all Keys. 



A thorough knowledge of the scales in all keys is most important; the ability to perform them all 
with equal facility is an absolute requisite to a really good performer. 

Every scale should therefore be studied in the following manner; Commence by playing it slowly at 
first; repeat it many times and at each repetition increase the time slightly. In the keys with several 
sharps or flats, more especially in those the signatures of which consist of four or more accidentals, 
the fingering of some intervals is difficult, on account of the mechanism of the instrument. These awk- 
ward intervals should be repeated over and over again until an easy mastery over them is secured. 
No pupil should rest satisfied as long as he finds any interval of a scale a stumblingblock to its easy 
and perfectly smooth execution. 

Rapid tonguing (staccato) is very difficult, and can only be acquired by patiently exercising the 
tongue, making it a point to increase its flexibility by daily practice. 



C major. 

(All naturals.) 
This sign \X shows where the half-tones occur. 



by Paul de Ville. 



142. 




A minor. 

(Relative of C major.) 



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F major. 

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144- 




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(Relative of F major.) 



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146. 




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147. 




10G38-247 



Copyright, MCMXI,by Carl Fischer,N.Y. 



El? major. 

(Three flats.) 



59 



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Ak major. 

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10638-247 



60 



Q> major. 

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A:major. 

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10638-247 



62 



Major and Minor Chords in the Keys most used. 



C major. 



A-minor. 



172 




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Sixty Exercises of Mechanism. 



63 



The exercises of mechanism have for their object the formation of the fingering by habituating each 
finger to act separately or simultaneously. 

By these exercises may be acquired that equality of fingering and that purity of tone which are the 
finest qualities of an Instrumentalist. 

In the following exercises the student must accentuate the sound upon the first note of each di- 
vision of the bar. 

Each bar or each sketch should be played eight or ten times and as a finish play the note after 
the dotted double bar. 

All the notes should be slurred, ascending passages played crescendo, descending passages di- 
minuendo. (See exercises on Shading, pages 29 and 30). 



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47 Keep the A#-key open. 



Keep the D|- key open. 




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Fifty Exercises from low B\> to F above the staff. 

Saxophone ByA.MAYEUR. 

Revised by Paul de Ft lie. 

N91. 



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N9 12. 



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#* 



^JJ'- ' JJj^J J JJ^ 



1 



* J. * 



^"JJiJjJiJ'j "-JJJJJJiJ^-JJJJiJ^J -" 



Si 



N? 13. 



IP 



N<?14. 



jjiJ^uji^jjjji-jJiyj yi^Jija^y -11 







biT^e %■• 6 %• e V <? 



N916. 







yjr^Jjjj^J ' j ^ 








j "iliUJJJJMi 



Keep Dft- ke y open. Keep Dt'key oP e "- __^^_^ 

pjjjj J J J J j J JJ JJiJ« 



p 



s 



10639-103 



70 



4 



N917. 



E 



6 fJ \ gj z 




J J J J'II gj I J Ju J JJJ J J I J J it J J J J J J I rJ I J 



■ w ) j «i * « y « i*jg « i«jgw 




«L' ' I -J.T3J 




i 



N918. 

Take F# or Gl> with the key XIII; improved fingering. (Evette and Schaeffer System.) 



E 



|? <* /Jj^J I fcJ ft,J 1 ^J " I J1>J J J I Jj> 



s 



J p# ^ -# 



i 







a? jjji >* 



m d* w * 



^i- ^L^ ^2- -JL 



^L, 



* 



F# plate N9 5. 



ra 



It * J j J !|t 



P^3& 



IZZ 



# • 



i 



Gl>-key XIII. 



^§ 



JJJJ : ll |jJ " U J J J l l> 



RP 



P 



¥-* 



mm 



^bJJJJJJJJ I bJJJJJJjJ l bJ " II' b J 




ill 



N919. 

F# plate N9 5. 



\>U H\'l 



K ; j ' ' J ti' 3 



«-^ 






i 






mg 



"a :, .i^ <p — -# 



fj^) ' I, IJ^J~J ti^ P 



^ n 



3^m fXL 'IT - S 



4Jp j i 



^psi 




jj ju jjjj ii- i i 



p 



^ 



R*^ 



* • !> 



wT 6 ^?* 



10639-103 



4 



N?20. 

F# plate N? 5, keep the key Gfl N9 V open, (JWte ««rf Schaeffer System.) 



71 



J 



HJ^rH^HjJ " lj|JJ^J>4W J J J I IN " 1 11 J II 



^ O f jft j J =¥ 



- M ; itJi 



^ 



^ 



Keep the Cfl-key closed 




Keep the C#-key closed. 



F#- key XIII. 



hj " l hi^JJJjJ^JjjjJjjjJJ^JJJjJ : i i 



U2 



6 



F#-key XIII. 




4 



N931. 



mm 



^ra 



^5 



^=z 



1!^ 



:» 



^H 



^ 



i tiJ ~ 



•(9 



mllr J dJ^ J J J J J ^JJ : 1 I g L^-ll : J d J I^JJ J J J ^ J JiJ J ^ J JJi J^l 



^ ^L 



* 



Keep the Al?-key open. (Evette and Schaeffer System.) 



2 



i.j 1 1 j ii i»^ 



=5 



2Z2 



TU * J B5 



i 



i J - ||: l iJl jb^ ^^3t:^^ -4jJ-*-t| 



N933. 




I 



10639-103 



"if p ' ^ jr ^ ' j ■ " J- 1 1 ^ j ' '-'JijJZDi ' ^ ii " 



72 



N933. 

Keep the G#-key open. F# with plate N°5 




1m 



^m 



l j - 11 = i 

*~z? — v — 



1 



wm 



^d^y 






« 



m l l ; JftJ i j] J73 J J "3 SSI " I 



jr* 



f 



flim i i >) - i i 



■*■ 



*¥« 



^ N&- ^_ 



l 8t Fingering. Z n A Fingering. 3 r - d Fingering. &)}■ Fingering. 



Fingering of A# or Bb: X 

N924. " § 



O 

o 
o 



o 



o 

o 
o 
o 



Take B\> l^ fingering with key VI or the 4* fingering (1^ finger left hand stretched on the plate l b * s , 
the plates N? 1 and l b L s closed.) Evette a?id Schaeffer System. 



js g tifc \f)ip \ }\ - 1 **r* r 1 ^h » ^ rH 



ita 



fc 



^ — 1_^ 



B\> with 1st fingering or with 4*2* fingering. 





Bt I 5 ** fingering. 



^i 



i b r ~ ^gg^gggg^ 



^#^ 



^ 



N925. 

Bl> 2 n A fingering, keep the plate F N9 4 closed. 



f J f J r|* J f J rf 



s 



^ 



3C 



* i , * m m — * 




10639-103 



4 



N9S6. 

k% or Bl> 3 r & fingering, keep the plate Fj} or G\> N9 5 closed. 



73 



ttu ft" lr/ ttri IttJ, Itt'ttahz: 




j-uJ-ntJlj3J"JJJJJ:nl= 



5=fe 



3E=? 



3g 



gt^^J^J^J^J 1^ 



£ 



s 





S 




A| 3 r -d fingering and keep Gfl open. 




N927. 

Bt» or A|| 4^ fingering. 






\>o - ^ J # J »^V^ b J J » 



^Y j pp j pp - pf j | » j pp j p j ty 



£ 



A^-^-^PN 



•ipf - 17 j r J ' t ' 



i ibp - ib 



y 



d + 



£ 



^r— ^ 




JjjJJjjJj^ 



* ^n 



is. 



Bl> 4th fingering. 



(jk boT>J | ^P U | bV - \9p\id J | MJ T * l^P "'| J 



5 



«4a 



to 



Keep the At>-key open. 



Bt? 4^ fingering. 



I \>o - te 



^ 



*w 



^ 



? 



^e^ 



~^r j Tj' j if ^j j \^hy^r - h^^ i ^ J ffl?gjtr~ 




10639-103 



74 




m 



fe{Tp^Tp i i> r ^P 




* 



Bt? 4X n lingering, keep the Al>-key open. 



jjp n JI T} IbJiJ J J JT pfi 




£ 



p 



N928. 

Ajt 2 n . d fingering. 



'. i t J~^ i i t J yii i J - H i JfTj» HtJ^ J pli ^ 



^ujijibb 




i 



N929. 



f>*H nrr i r "'rrrnrrrr^ 



p 



Take C with the key VI B. 




r i rrrr. 

5553 



Jn jtnJnjjj 



^ 



^ ^ ==fe^ 



^gg^jElr-i^^ 



-#- 



:s: 



m* 



^ 




# 



C with the key VI B. 



^WE^'E^CEir 11 i' 



4 a » P » 



fity-r 



Z2I 



10639-103 



75 



Keep the Al»-key open. 



j , rTi-' i rTr r T|- i J Tr rT r i jTp r T i , irff ^f?! 



fJ -- 



Bl> 1st fingering. 



rrr J irrr J i rrr J Tr - i c^mr+ttirmr ' T ' ' 



Bl>-ist fingering. 



p 



& — ^ — ^ — ^t: 






^ *z#z c£; 



^m 




rrrrrrrrrrrrrr li^ 



A# 2 n _ d fingering. 



j ii ; ct^ J7i j ^ ^ 



f - n'CMTCEl 



p^ 



#WH* 



» g ) # J J » 



~ 



#^ ^7. - »^2^ ^ 



^ 



N9 30. 

New Eb, (Evette and Schne/fer System.) To give El> take the plate 5°l s . 




^^ 



?♦ 



U 



U 



I ,, I , ! | ,, I , I | , - h. MM, ,.l,. mm, ,,l7 ^ 



i 



lJ[J J J '[ n ^« J J ' bJ ^Jb J J J JJJ J'[ ;Jt> J JJJ J J <%g 



# 



J D J J> 'JlHJ 



■zr T 



P3 



f 



i 



HJJJJJJJJJJJJJP I " I ^J l J '^J p^ 



4 



5-^-t— -**• — m — • — #-H L r- 

^ bv ■*•*■* b^ b< 



10639 



^103"~ 



PJWJQ 



w w In 



j±. 



76 



i 



s 



s 



g^§^ 




i 



Keep At open 



t. J i J J J l lJ- il J I I I I J 



R= 



3 



# -# 





Bl? 4*) 1 fingering. 

mO"]irjJT] 



ti^TJiTJ^J I 



^"t vi. 



* — # 



^ WIS/ ^ 






^ ^l # ^I/ ^* >ij|; ^**£ 



r 3 ^ 



Keep the Ab key open. 



^r 



3"* ^£l< 



.. Bb 4U 1 fingering and keep the Dl> open. 

i nffij \pJ?\ 1 1 - 1. n>J7l rTJ ^T] i , rT>«fri rfJJT] 1. 1 - ii 



^v^^' 



N«?31. 



^ ,« ^ | ii fi i tj^i< . - irYpf ir^rTnr ~ 



m 



m 



Ski®* fingering. 



Si 



3e 



hx i^^r j^ m-m i*m i-M m-M i-jt 1-431 mv 



I M M 1 I | It tt 



ifld 



rT r*T rr rr ir"r r»r r r r r i f 



A#2 n . d fingering. 




i 



33 



L£![f mr it - to^e^^to^^^' 



^ 



10639-103 



77 



A# S r A fingering and keep t he G# open. 




Att B r A fingering and keep the F ftplate closed. 



^aj^g^%-tf^M^ 



i 



g^g 



n 



Ufa 



^Jt J* v ? ^" ^ 



*_^-J* 



9 v m v <? m v .? * v a 



i 



N9 32. 



(J - 



P 



<♦, (J 



^m 



p 



£ 



ilii 



F^g 



£ 



I 



i 



zr 



Take the D with key IX and keep the Ctt plate closed 




f l tiu^ 



^j^^j^i^i^^^i 



m. 



m gjsss as ^ iss as i^ ^ 



p — 



£ 



rr> rr'r - ^ "rrrr rrr fLij" 1 



** 




ill 



NP33. 



H 



„ p — , , p „^, 



e: 



P 



# 






£ 



<v - 



i 



£ 




Take the D with the key VIII and the plates open 




10639-103 



78 



i 



7 s t -^ nr^ i^jT^ ^r a T "j 



U^-l 6 







is 



N9 34. 

©3£ 



777" 



z?z: 



ifi 



Q=£ 





Keep El> and Bb 2nd or 4th fingering. 




Bl>3nd fingering . 



jftfrteBrrfrcfr' 1 ^ 




i^pg 



Bt» 4th fingering. 



i 



I*f7^ 



m 



m 



*F I J 



m 



-*-* f 




l^aJ ' • \jj 1 ' • 1 [Jj-ImL^ ^ 



i 




PS 



Keep A\? open. 



ZZ2I 



tm 



l? J r j 



** 



*^ — ^^m- 



#-= — =-♦ 



ZM 



tf: 



tf 



p 



zz: 



Keep A\> and El? always op en. 



MfMrMrar"' " ' Ti ^P 



£§ 




Keep Ai> open. 



^0 J ^--^gCviC > " w LEU bJ 



773" 



10639-103 



79 



i 




2JC 





|pli=||p 



A# 3 r -d fingering and keep F#closed 



Z?2- 






M D ifl^ i W ^ 




iS 




s 



N9 35. 



i 



« 



■*^- r 



P~ s- 



? 



i 



Keep the D# key open. 



* 



# P # P ^F 



i rf r- iriOj'^ i rto^x: 




N»36. 



5p 



§r ip ~ — r 



CCT'lr - 




10639-103 



80 



i 



-Pt- 



I 



4 »^£ rrfr£ r ' b ^ P 



rflrr.rfl i nr.ffl 



^^ 



*- t -» 



LCfJ^'LCfJ^'ll^fJ^'L^fJ 



# 



Bl> S n - d fi ngering. 

IT 



£ — :: H*- G- 



m 




m- _m 



£ 



Ifffi 





j ^j* * mj* 



J i'SJTii S^ir i 



#^3 g 1 ^ ^ tf 



ff ^ # ^ — 6- 



" ^ 







iFigffgiFffi 



Keep A \> open. 



oc 



■r^U'txj 




Keep Bb 2nd fingering. 




gps 



NO 37. 

Gl> kev XII. 



^ 



£ 




jP p^fr . - r r rP i^V^rrf f r»rTffi^ irf^r>rffrr»TrP>i 


Til ■ ' f * T 1 M " 1 bUj~i i i i | n i hkif i| | I 1 | n I w n I I .M 




\?ST_ T..T1 1 




m 



V0 m _ 6 J^m i* m _ g 



F*^ 



S 



531 



- A# 3 rd fingering and keep the F#close 



pi 



ffirT. a 



r JJ ^ 




1 g gf ^ [& & ^ 



- 



i 



» <? 



^ 



*W* 




P^P 




10639-103 



81 



N9 38. 




7T^ T^ T 



^ -I s ^!h 1 



izcM^M^M rnriiir «riiWMi^Mi 




Pffrffn 



3 

*-m — ^ 



te==rf 



n n [IXuj Luijj LLLu j LQLuj "^ ^ 



m 39. 




Keep A\> o pen. 





Keep A\> open. 



3 



TflJUu-.'-caJ g 



ffl 






^fW^^ 11 " 1 " l|:|, C^' r -i-'/[XJ' r ^ ; ll |J - 



82 



N9 40. 



IjCt | t rTr - frrrrfrrrr i T - frrrrrrrri 



Keep G# open. 




Keep G# open. 



i^fr i ffiPrir 1t r*rrirr ll| ' ll | '.ir -J^5r5 





LCBr tjr lct ttr 






H ^ 



m ** m — m Q 



m 




$ 



* '*£*." 



r^-ff "r ifp i f r if p i f - 



§ 





£ 



jr r r r i rrrrir r rrif |T||r !n n n n iH n Ti fT n 






DfJcrrftrrtfTrf - l^ff f l ^rr f l f^r f | T - P i 






Jrrfijffjri^ 




^ 



9 



m j> ^ m 



6 



m 



m " m 




i 



— m 



t 



i 



= 



10639-103 



83 



N941. 

B\> I s . * or 4** 1 fi ngering. 



^.rTrfrfrfffrrrfrf i r 





A# 2l d fingering. 



fflT i r - [ "rrrrr rrfiffrrrrrfi^ 



j'tertftftffl'tfff| lt tftftfr rrrrrrrrr | iir =^ 



# 






Bk 2 nd fingering. 



is 



Lf r^'^ a 




p 



1» f» 




^^ 




Bk 2 n - d fingering and keep F closed. 



| ^JTTVJp 



C-tfr^ ^fpf^ffft 



t* 



^s 



B!> 2 n . d fingering. 





h 



^^ 



? 




i 



F3 



^ 



1 



r iJJ7Julnl l 'qJ §MB 






^ 



10639-103 



84 



31 



N9 43. 

Bl> 3 r -^ fingering, keep Gb and E\> open. 



h±* 



1 



faU J J l ^^cX 




fefcH 



^pi 



l>*tf 






i?*tf 



£±£± 



eg 



» 



# o • 



^ 



^ 




f]TPl^ r tl 



10639-103 



N9 44. 


85 


,f,f?iff7f-iffrf,ffffTf .ffrffgfi 


ifrffif> | 


ICT) 


— "i^ hm*^m* _ — I i 



Cke y VI B. 



H rPffrfffrfffrfff^frfffffffrfpfff 



«j 



Keep G$ open. 



#iii 



!L* 



p 



^fe 



1 






fs^P^ 



fel 



palpi 






* £^ ^Jll^ M 



:e 



#r^ 



^=5 



£ 




4fflmm^L 



i£^ 






pjpf 




a 



£ 



i 



10639-103 



86 



Keep G| open. 




N9 46. ^ ^ 




For the Sixteenth-notes keep the C plate closed and take the Dbj with the key IX. 



r p mtmfrmm f ^miift mm^ 



i ii ; ffrr i rrff.| | f-.. i ffrrrrrf i Efrrrr.rf | tfrrtifj 



.♦ g. 




p rrrr.rrrr 



i-fffffpf 




i 



fffefjt ffef £ ffef: £ 



"S" 



# 



10639-103 



^ 



H 



i 



fefer 



fr i tfrrrr 



- i^fe^rr^ gf^F 



87 




Keep Bt 2 n -d fingering^ 



U* £ £^j*l h* »fV f*»fV b^ bf*T ^^ |?£i #; !?£; bi*i #; £ £ 



iii 



i 



rfr.PTFr 



l 



Keep Bt> 2 n - d fingering. 




* 



He&*&&dt£t£t&&tt h £ ^e 



atmMffaiffl^ 



i§ 




kbe 




- p* 






,t fxp r rrm-rrn°Q , ' r rrtj:r r^ | * i F - i CITl d^MTrrdmrrir.i r ; 



m 



Bb alwa ys 3 n - d fingering. 

%1F 




p i>m ."? 



10639-103 






^ 



%i? 




fe pfg 



^ 



~~i* 



88 



N<>48. 



II 



te^Tteete^fe ¥fi? *£??£ ftfigTelfi; 



H 



te£*e*e#e tee 



fe ^jMte e b ?fte i^fefte 



# 



Z^Z+V 



#- i»- 



i= 



tt*e*e fe£*e 



1 



#*£*£*£*£ 



f _ ?mmr 



m*M*£ tp \ 




mi 



g ti* e .£ e e 



gj£&f# 




i 



— 19- 



ffff ifff 



:=#.:= 42. 



' -W -W 'W 




ffcEi f i r - 



feteee? 




tetee** 




£ 




Keep G# open. 



fp^P 



■^a 



* 




a 



^ 



10639-103 



89 



N9 49. 



# 



A & P- &- 



i 






jfT«( 






<£ffrf" > H^jgf^f 8pf Kp^^f tfffftpff , 




— -m- '--■ #: : - * := £ 



rfjyiiyii 



iM^H g^ 



# 



i=w=3i=i§i=#^ 




10639-103 



90 



Exercises for the new key of Et| and F above the staff. 

Evette and Schaeffer System. 
N95CL 






mms= 



i 





10639-103 



91 




10639-103 



-92 



Twenty- one Exercises on Detached Notes, 

in different Keys. 



Key of C. 



■ J f - r r r i r ' Hit i ri r I' 1 'h h I i '\ f 



4 



g p 



tM 



itei 



P 



m=m 



2. 



^ 



« i r «h r 



i 



^ 



£ 



^ 



* r g 



^ 



fei 



£ 



i 



PP 



rrf i frf i f 



^^1 



Key of F. 




^•'"rrJirr 



zz 



£ 



i^Ji'jJij' 



J 1 .rn"i jifiirrr,, r rr rr | frfrrr |[TB=aB=! 



22: 



Key of Bb. 



J J I J - I I ' I 



J ? r J 



@^ 



^ 



* 



^ 



^ 



rxmir-H^^i 



^ 



m 



~XL 



^^ 



r i' n ' i cj Cj i 



^ 



^ 




p 



£r 




^ 



iji^r 



£ 



a 



10638-247 



93 



Key of Eb. 
k 



5. yu 



£ 



S 



ff i Pffr 



PP 



fet 



Hf 



^ 



g£ 



rrrtr^f 






? 



jj ij^Hi 



^^ 



is 



Key of Ab 



6. to*J r i^irrrirr i rnr. 



£ 



iH 



t- 



m 



i 



£i 



^ #■ -*- 



^ 



^ 



£ 



''!> fP.U flJ 



i©" ■ — 



rrf i ff i rr i r r= 



^m 



rr 



^ 



m 



Key of C. 



is.ey oiu. - 

7 . L tf rrccrfi^rm i f h r rr rfrri r n i ^ J7%m 



t^ r cxr i ^ r^ niJir ^ iiJiT 1 ^!! ^^^! 



Key of F. 

8 . iu irfltm 



JT31 1 fTP ^ | JSl JTJ3 



ji-^ajarj' i c§pp i 



# 



^=»c 




r i rrrf ffrr i rrrf ff rr i rfr 



jvzgrrru ricx r ^ 



PUPiP^ 



n 



10638-247 



94 



Key of Bk 




i^M 



m 



» 



IP 



^-# 



J' 1 ujj uuifirrr, , luu 



i ' J J'T a 



§=£ 



Key of Eb. 



10. 



4 



fe 



TdE: 



^^ 



mm 



m m m 



m 




» ^ tf 



# -L # 



^■i, r^jiTJ] ! ^ 



*^fe 



# m m 



mm 



# 



ctfrir.£rrrnr i rr^ctrn rr ^ 



^r rtr r i 



fe 



£ 




trfTirrfr^r 



p» ^ 




|A^rcir 




^ 



» 



Key of At. 

~7 1> lj> <* F T P 1 1' P m a m- m mWf-mWf F •P%Pl > 'Vl* *% Ff 


. _£}_pj2_m — -a.,-,^%^* .^l'^j* rrfr ~ ~~Ft 



in 



fe* 



**F* 



rrr rifvrrr rrr i fe^^ 



#f 



P-.P 



M> toffrrf|frrrfrrf | tePfrrf | £ 




#>- -#• 



gmgg 



^^T^¥f-^T- t --^ t T- t --^"T>rt^T>fYrfn>fYfrri 


«J 



/rukb %p^V*--»pf *f«pf f.m0*0 mF r »0f»0f p «p«- = — |— =— 1 


yff) v 2 *-"^ mL - •- » •_ • ■ • * ^ « • rJ 1 



10638-247 



95 



Key of G. 
12. i p-iU-fM : 



i rrrf iffrn rfrrr 



^ 



nHi 



TO^+ ^ 



£ 



» r p 



dLr J U 



3 



it^i 



£ 



^ 



^ 



i 




^e^ 



uvum 



p 



* 




s 



mmm 



i 



mum 



Key of D. 



P^ 



rr ifrrr 



#^^^^ ^^^^^^ ^^ 



§ 



^^^^ 



^ 



i 



i 



1 



1 



Key of A. 



14 . | fej=pe^ g 



££al£ 



^I'l I II I'lj MJ i | J I 



"pf-TTrrr^T^M^rf 



t^^fflixf ife g 



s 



^ 



pnn^miii 



£ 



Z7 



?##^ 



fel 



Key of G. r 



&€ 



ffi ^^. i ^^j^ ^j -i i 1 ^^! 1 ! .^ rr^MMJ ^ 





* a 



ft Tr ii rr i fr ri i irr i frrr iiiTi frrrrr ri^y 



10638-247 



96 



16. 



Key of D. 

iti 



? > "" d i^- 



^ 



S 



F- yf- 



ffl^ 



^ 



f jn ^ jtth n rrrcrr i fffrrcrr ^. rmi rTH rfn i 



fuciri^UJi^& g 



pi^ 



i'l rrfJTnr77rtfrf|ffFffg i 



Ltxr" J I| L^ 



^ 



pzz~ ;z* 



• • 



Key of A. 

Keep G sharp key opeir. 



* 



*« 



(Ebett'e and Schaeffer System.) 



17. 



m 



p m 



i 



*t 



m 



^m 



m p _ f 



£ 



• J • 



,,fj¥r_ r trWf^^ 



A ^ 



i=l££pi 



l ft tt r f > r r-^ 



& 



rrj-ciX I 'l^rj^ l 



Key of E. 

Keep G sharp key open. 






(Evette and Schaeffer System) 



IJJJ^-OTJ I JJTl-J 



JJTTTi 



<t'A rrrrfirnrrrrfir 



ffrf i rr 






A 



m 



^ 



i 



■^-# 



*Jli 



#¥rfl£Tf£OT#^ft 



10638-247 




gs 



97 



19. 



Key of B. 

*4 



m 



i 



»<v JJ^J 



s 



WW^ 



i»-F-t» 



^ 







1 



^§33 



j [.l«n — j«g 



iH 



3S 



fregTOrffig 



tot ^ p itt p fipfr 



•*JJ' i if " n 



m 



Key of Bk 



.^m 



m 



20. 



zmn^^^ 



? 



* 



^ 



t#— ^ 



£ 



IS 



^S 



4^rr-irri^fte 



£i 




^ 
£ 



pm 




Key of D. 

2i. ^a 



§^ 



rrf | flrr_tr^ ^ 



# 





i=£ 




s 



i^rrffff i fLT ^ 



JL -*- JB- 



fe 



in 

10638-247 



£ 



f r | £U r^r i f^ i 



98 



Twenty-seven Exercises for gaining execution 

in the different Keys. 



C major. 



J.A.KAPPEY. 
Edited by PAUL de VILLE. 



SSi 




major. 



m^mm 



mm 



9 — t 




^^ 




major. 



^^ 




tiMM 




iiiii§igpig|^jiiili|i§|§§|p 




^^m 



^ 



p^ 



mil 



^^^^^ 



m 



^^^^^^^^^^ 



WIfIM^0^M 



10638-247 



Copyright, JXCMXI,by Carl Fischer, New York. 



I 



99 




^M r f r i t tma h i ^ 




*» =11 r - > ii 



A minor. 
5. #B " 



e 



ff-^JN rrr i ^^'JUJ^'^ p 



^ 



jTp7>' | r 7p i tr | itrrfriffrr[ ¥¥^ 



> rt r i rr r ^ 




i ecr'rW 



D minor. 



tWJ JJJJ tf£ 




hJTPPrcin 



^=^^fi^ ir f j ^ r r r 1 1 i^ff^ 



G minor. 




-A^r^ 



10038-247 



■-I'lH d \> 



lLL I llu -i ■'■ P 



100 



D major. 



#S 



' i tfftrrr^r*r*ftf?f \ : 




8. 



& h fg-rrccr i rgf fffr i r^ ^ i a Si ^BgV 



B minor. 



i 



nr.prF 



£ 



**■ 



f\ ? 



* r . » 



ftJ 



:= 5*^ 3 



Ah r¥r*rf rrlfirfffjQ'rJ^^cltrjLrfTy 



il 



LCJ»LCJ 



ft*. 



r_-. r . n_ i / Tf r tt r T f -i 



A major. 

10. ftTtt 



i 



g^rj i LlCJ* 



i 



*s 




s 



•ITOCCXf 






'\ #' * m— i 



ihjk^t 



m ^^Z^ - m* 



J¥ it r r^^rrf^n - rTfr iHLcj ? -n H ji ff^ 



11. 



F# minor 



i 



& 



# r i r ^r m 




^s 



jtf r r'r^' i nTJtfriirrrirrr^. i ^iinr^ 




$ r Lr f ' i rVr.j.LpXZfei 



fete 



r cxxj--'iJ -Ji 



10638-247 



101 



Ek major. 



12. 



^WjjTUjjd 



/ # 



S 



^i\ rcift^'iJ^ ^ 




%m^ 





ii \ qi.i riM tfiLr JLu'irrn ^^ 



M 




s 



i 



^m 



fr=g 



P s. 




^^ 



C minor. 




-^Hfn'rrrrPP P i 



T' 



s^ 



3 foH Jj JjJj J J l JJ ^ J^ : 



mrarji 



pa 



«hrf 



E major 

1 




103 



15. 



C# minor. 

ifffcz 



m 



jjj^"" 



f1riiJ31J 



l J 



*.^^ 



3I5P* 




i 



**. 



I*- » P 



^m 



p= 



■ TCTJu j i iJ^ rr i riLr ^pj 



^#- 




#fe#^ 



pl^Ti^r^'FT^TP Oi aPf^lPfF i -P 



£ 



mF f ' pfp i . pre — p rp ■ . M0m — ^iT^-i 

grrrJjr i [jiri i |Jf i [ti'r< t ar i 



fla 



to* 



pi 



^ 



§ 



#^ 



^ 



16. 



Al> major 



# 



I 



'' A * -d 



3T 



S 



S 



F^* 



£r i cicj cxr rij i 



^ 



te 






^ 



n 



i 



to=g* 



^i7trr i r ^ rff trf[i]T r r^rt]:^ 



i-s 5 



Js ^s sJ ^3 <l 



3, 3y 



i 



to* 



P^i 



^F=— — #• 



P 



>, Jg 



^=?= 



^fl^ 



fe 



£- v^T" vi, -? 



^ ^L 



minor. 



17. 3332=1 



^H J7flTOj'l J3fl [g^J igj g 





i JiUXg 



10638-247 



p^w? 





[^ i ct^^ 



i 



103 



Bl] major. 



Allegretto. 



18. 



PhKlffiP^f l tf M \ W 



ttW 



[tf ' ^riir i wtf 



m^m 



i 



y m m r i • r r< i ^ p p i .r.r g 



aWi-Cfffr i E 



■ i crrrij-irjj^ij^ 



» I (P 



_ 



CTJ 'Ci-J 



»^M 



Yfrfri jflr 



Pip 



n 



^ 



f 



y * 



G# minor. 



<^ 



19. Eg , "II "|| ti JJ'J JJ^ 



^ 



^^ 



M=SP* 



won 



4 



A 



m 



ixac 



ZSJW 



Xi 



-y# 




i ca : rc£cr i fij "f s N^pagifflfg 



^Mr tiYrET i ili a i 



f^ ri 



• #_ 



*xat* 



F# major. 




W C, I J J g 



* 



^ 



PH» 



5 



20. 



,.>— 5i 



r 



F 



r JJ u j r 



iiiil 



^7^< 



3^ 



w m P m 



w 



rftnrt^r 



w~T"m 



.?> 



L sA nA ' J? ' ' JL 'vi ^ v£. 



^ ftLCT ^ rnttl i 



^ 



i 




iH 



jt 



F**»" * id r£ 



iTffff|ffrrri n 1^1,7111 , 



10038-247 



104 



D# minor. 

21 : i%i'i 



M=+ 



m 



m 



^^P 



4*tt# Pv- 



i 



W^ 



m 



-if - 1 i 1 1 1 1 ^t *^ 



^ 



All 




i^^ 



AH 




tJ 



Dt> major. 



22. 




frrk-s 



S 



HP 



^ 



^^ 



r I r r r r 



#Hitai 




rVffjY'i 11 




^ 




<*•»«♦ -ft 



e 



1 





iii 



i ^^^ 



*1»- -ft 



S§m 



1^: 





E 



^ 



US 



!e 



Hi 



• ♦ 



p 



i 



> 



10638-247 



^Tf^Vrrfif 



105 



Bb minor. 



23. -^hrfrrn^f^tM 



W~ F I P m P 



feM 



p 



Q- l ' i{jJ ig 




fiM. iTTTTTTn i rrn 1 1 rn Mi r > m^i 



p 



G\> major. 



Andantino. 



24. & J' \ >\)> II /T? 



^ 



ty i :?gjzi 



^-£b^^f 



4#Pl 



^ 



^jirr i rOnfT i r 



/: 



B I p- 



y 



feE 



Ah,^ r^H^fi^rZr H^ 



p r p i r r~p i 



&£ 



.■ \ \ m r ff i f i i h - ' r ; 



^^i 



K 



Eb minor. 



P 



^m 



m p 



^m 



M 



m 



\>± 



ffrFff 



r 



¥P 



vwj i j rrh 



m 



W 



m 



Si 



» 



pss^ip 



a» 



T i rffr i rffr al 



i 



10638-247 



r-"jj,J J jU rri 



106 



Allegretto. 



a ^cfffcrfr i tt^rr i 



■crr i cir 



jj'T - * 



^ ^ ;?7 TIT ^ ^7 ^ ^L ^ 



Si* 



fa ¥V r r 




+-T-P- 



r^ojTmnm^ 



m 



3s vA 






^ vt ^.? 



27 s& J? ^ ~X vi 



JLs V*. V ,? 



J""% r I"u lu n i l nTQ j'iuJ 



i i fr i rrrr ii 






^ 



m 



— V.-i UJ — t^ n _^S^J 1 — _ — „ o „ 1 ..^w T^Sa^^ ^ LJ ^ ^^ 



A, ^L 



p 



^#ajLu | ? r r?' l L n ? l . l .J |l i J | ai | ' 11 



x vt- jr ■* ^ ^ ^^ vt- y. 



(tucirccrrinrjn^lD 




ffffi^ 




5^ v2. vi? 



3; — ^x — ^ — ^2; — ^ — tt. — — ^ ^ ^z: 



T ^^t* M-I ' C-L 1 S 1 LLT "j, d l J l ' " J , w C4- 1 " 



£- ^/ 






T ^L 3 



5. vJL 



^^ 



Mnrfr 



¥ ^ J i J W 




:& 



10638-247 



107 



Ji'iv iM^Ti-rfi ii i^j'iuAuan^^^ 




^m 




^ 3 I ^^ r u^ q— 



e 



i r-f- 



|^ f^W 




rf h > i fi 



rvi* 



£ 



te^fr 



y f ' fVj- T r I J^ ^ n v P v 



¥f 




em 



SH 



|^ I 1 ^^^^J^^^j^-fUf^ ^ 



^ 



^i^ljffi^Jft ^ rTi r^VjTlj fp^H-H 



10638-247 



108 



Three Exercises on Staccato. 

Practise at first slowly, then quicken the time till they can be played Allegro. 



l 



.^ji 



Allegretto. 



m m 



m 



if 




rn mJCJ j. 



ii 



m m 



mm 



m f t 



^^ 



ffi 



I 




iii 





Hrr if tfrffn 



jrtlfr tr 



p i • 



.? 



m 



3 



m 



i 



131 



±M 



m 



m 



W~W 



m 



% 



dbim f ffr - 




m m 



m 



i 



i 







Allegretto 

,6 



^-rr^r r r _} ^m 



i > 



,? 




2. 



g^ 



|)ffffffff , | 







■ ; ' .T. -T 



esS 



JN> 



£ 



^ » ■ 

warn 




d$^-U^j^A 



IT ir 3 



T J 



T* > 



^rrr^ 



a^ww 



mm 



IT 3 T 



T- T . >? 



3 9 




i. 



00 F V-*- 



0~0 



m* 



itttftrtrft i ttrftttfi 



'm. > . ' T" T 



^ 



10638-247 



109 



Allegretto. 






3.S 



3 J v •? 






J 



a 



' 7 f 



g 



=g 



Si 



.7 



I 



If cJ J ^&^^ B « : [Xf CJJ Uj+Uj CJLf Clf 



^^^^%-%%^^^'iicf i ^fl^ g 






rf 



^^^ 



^ nh rj- cJ cj i r r^g^ 




>#i^^ ^^-f]U^^Pf j^^-rfff 



m 



0~ m L m L 



■jfT- F F 



3fe 



t 



^ K g g^Ttt X J ex; CCjH 



m 




itn 



.? 



ii tfJttfftCfJt l itfrtf f ■■tff'«tttW l 



A 



5 



^S 







^i 




ai 





m 




tumw' m i 



110 



Grace-notes and Embellishments. 



These are of considerable variety, and consist of simple grace-notes, (appoggiatura), double 
grace-notes, (double appoggiaturas); the turn, (Gruppetto) indicated by the sign cc or 2 and con- 
sisting of three or four notes" of a fixed order, and gruppettos of more than four notes. With 
referance to the longer ornamental phrases, or Gruppettos, it is necessary to state that the 
the manner of writing them has gradually undergone great alteration. Formerly the simple 
Melody was written in full notes, and all the embellishments in half-sized ones, (called by the 
general name of: grace notes); but in our time the composers prefer to write embellishments 
in full notes, thus making them an integral part of the Melody. 

A further ornament is the short, or passing Shake) (Mordente,) indicated: *v, and the full 

Shake, or Trill, indicated thus: tr, an abbreviation of the Italian word "TrilloV 

Lastly there is the Cadenza, an elaborate ornamental phrase, mostly performed as a grand 
final climax to bravura pieces. In ancient music the Cadenza was left to the inventive gen- 

ius of the singer or instrumental performer, and merely indicated thus: 
sent composers prefer to write the Cadenzas in full. 



m 



but at pre- 



Cadenza. 



As a rule ornaments should not be added by a performer except where they are indicat- 
ed by the Composer.— Some ordinary performers are under the delusion that it "shows offV 
a player if he can "beautify" a piece with grace-notes and shakes, and trembling breath, and 
other means. This is offensive to good musical taste, and amounts to mere vulgarity. _ ^But 
when embellishments are introduced at the right place, and performed by an "artist? their 
style of execution furnishes a criterion for the estimate of the artist's schooling and deli- 
cacy of feeling. 



Examples. 

Grace-note, or Appog-giatura. 



The most frequent "Appoggiatura',' (literally "jammed note?) is written thus ^, with an ob- 
lique stroke through stem and hook. 



This is invariably played very quickly. 



Allegretto. 



Example: 



.. j^a-^m- 



m w jhm gi m J* 

— tf ^ ^ ^ 




10638-247 



Ill 

But there are cases, more especially in ancient music, where the grace-note has no stroke 
through the stem. These are to be played as if they were written in full notes, the time value 
of which is to be taken from the note to which it is slurred. Per example, if the grace-notes 
in the preceding exercise had no strokes through the stems*? 



Written: 



Played: 



iiu r & r If ^r i 


m m 


f tlf lilf 


f f 


-fo* ' ' — ' — L - 

*)lt would be played thus: 

LPu r iff Cf=R=\ 


F * 


,i ''\ P ■ 


i 

—0 - 


QJtrJ — '11 1 1 1 1 






L^J 1 1 




Written: 



Played: 



Written: 



Played: 



3PE 



Appoggiaturas of various durations. 

Andante. k 

J «^«i 



£T. 



& 



si 



^ p p 



* 



ri^ 



£ 



-G- 



P 



& 



-^ 



zz: 



^ff 



i 



•J> 



? 



«f£ff 



±- 



^ 



g 



^ 



^ 



» p Jm ,j. 



pq. 



? 



P* 



I 



inr: 



i 



^ 



33: 



ig — yr 



i 



^— «T 



* 9 >; 



Mf^ . j-rr 3 



^ 



77" 



r; » 



^ 



P* 



^77 



Moderate 



fS>- 



s 



Exercise. 



r -r r r r i r i r j £=£ 



■^-r" f 



&- 



f^ 



mf 



% 



11 r Pf p I CXXT CJlX-T 1 r f pi r -p 



m 



P I f r * 



ftfP 



frVfcJfll^yl' l ^ j 



Up- r ^ 



S^ 



F 



£ 



P 



f^rrf^ ; nfa ^ 



10638-247 



f*=S 



§e 



z 



^ 



412 

The "Double Appoggiatura" or Double Grace-note. 

Is always performed rapidly, and its value is deducted from the preceding* note, so that the 
following* note falls exactly upon the time-beat. 

Exercises. 



Written. 



4 



t 



II n ?2> p 



& 







A 



m 



m 




s 



r vrP'P 



zz: 



i 



Played 



fc % 



^ 



@ 



jp PP 



zz: 



e 



Allegretto. 

Written. 



jh „ r flMr ff i j p r p rl v i r ^r ^r *r |fr r p n , 









£Efc 



Allegretto. 

Played. 



A^^ii 



^* ^** <• > 



^ 



A-4 



m 



AHt'tftTZsr ir^tfgJiP 



~7V 



P* 



/3 



^ 



Moderato. 

Written. ^ — -^ 



J* 



a 



£ 



5] 



^ 



B 



3s 



& 



Jp l J t 



^ 



S 



S 



» jj» 



i 



1 



rr i f-r 



s 



* 



p^ 



Moderate 

Played. 




fnfttrntfjr n^.i 



m 



mm 



10638-247 



•ffrjT i t-6Tr i Q i 



s 



^ 



113 



4 



Andantino. 



±s=&. 



& 



Exercise. 

J3 



& 



^S 



^> 



^y m 



rc^rir^ 



V^S: 



Lt; 1 r r ur 



it rj r&f 



n>> g 



^ p^ a J J>i-a-r-^ 



s 



^=P 



^ tf -rPr^Trr^r 



-$*m 



■-^n. 



rmr i fprr 



s 



g r ^ 



^ 



jtLJr?r^ 



^ 



m 




*** 



iU 1 .' r 'lu 



jpoco ra//. 



i 



* 



« tempo 



& 



■ »• 



^4 




& 



^ 



P* 



gP 



#-i* 



^ 



£ 



^5 



* 



^f: 




5 



^~~y 



<3£* 



«? 



EEfcEE 



The "Turn',' (Gruppetto). 
May be of three, four, or even five notes, upwards or down, written in full or by the signs oc 

(upwards) or 2 (down). Any accidental over or under the sign, t; <$> ft <^o, indicates that the highr 
est or lowest note of the turn should be either $ ortj, as indicated. Its time-value is always 
taken from the preceding note. 

Written. 

m * csp 



$* 






m. O C 



£ 



m 




* m- cn p 



? 



r 



£ 



Played 






£ 




£ 



££ 



js: 



gfr ^ 



Written 




10638-24*7 



114 



Andantino. 



^^ 



^CO" 



m 



'csT 



'eo 



p 



^Ft^ 



zmm 



• ft » 



? 



*0 



^? 



When the Turn is between similar notes, it always consists of three notes. 



j 



am 



ft i ft- ft g = 



^ 



^ 



f j u r T p i J u f 



i 



When it is placed between ascending notes, it consists of four notes. (Upward turn.) 

l3 



«f 



a \ 3 -r 



T2Z 



m 



t 



p 



^ 



i 



When it stands between descending notes, it con- 



q v p | rfft r |T , ,h i S- r Y r r fr fig i 



sists of four notes, the first of which is the lowest, and the third the highest. (Downward turn.) 



i 



"5c 



i 



S^P 



¥ 



£ 



It must, however, be remarked that there is no absolute rule, and it depends upon the artistic con- 
ception of the performer, whether he prefers the upward or downward execution of an indicated turn. 
The preceding* exercise is to be performed in the following manner: 

Andantino. 



|" ^[ffi^jffi^. ir~ p r ? ^jfep g i lp 



i r'fl n ,], | r7p ^rr i rTr-r r » P 




mg$ 



in 



5 



r rwnr 



r irrtfrirffrr | 



j Tr. P i rWriLj S^E 




# # 



nirittf^T i rrr 



5 




LjJJiJJ J p i Littj ' r PH 



Gruppettos of more than four notes /are not so frequent, but examples by Rossini and other 
composers will be found in operatic melodies, and also some Cadenzas. 



10fS3S-^47 



The Shake. 

(Trill.) 



115 



This is indicated by the sign tr, an abbreviation of the Italian word: Trillo, (trill,) and consists of a 
rapid alternation of the note over which the sign tr is placed, with the next note above. 

The shake may consist of a full tone, or a semitone, according to the key of the piece, and the posi- 
tion of the note in the scale of the key. . Shakes present little trouble if they are executed with the first 
or second finger; but much greater difficulty is experienced if they are to be done by the third, andmore 
so with the fourth or little finger. This is due to the anatomical construction of the hand; the ability to 
execute a good shake with the latter two fingers can only be acquired by presevering exercise, and great 
trouble has to be taken to equalise the rapidity of all fingers; a few shakes have even to be performed by 
the thumb. Every shake must be practised at first slowly, and the rapidity of the finger should, in the dai- 
ly exercises be increased gradually, until the required speed is attained. The close or end of a shake 
should consist of a turn. 



Table of Shakes. 

tr 



PAUL de VILLE. 




m 



*a=^ 



m 



tr 



I 



xy 



l£ 



fr&- 



Keep the D # opened. 



Keep the E \> opened and move 
together the plates Nos. 5 and 6. 




I 



m 



tr 




m 



*= 



~Q~ 



~r*~ 



Keep the F t| and move the key XIII. 




7 



5iffl§ 



ia^ 



10639-103 



Copyright, MCMVII, . by Carl Fischer, New York. 



116 





Two ways to shake A \> with B \> 

l 8 -* keep the a b Opened and the left hand plates closed 

and move the key VI. 

SWjtake the new B t> (Evctte and Schaeffer .S^tem) keep the 
A t> opened and move together the plates N° 2 and 3 of 
the left hand. 





Keep the plate of B and move 
the plate of F b 



ijli^ijgi^gl 



fe 



Keep the plate of C closed, the key V 
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10639-103 



165 

Forty Exercises on the Slurred and Detached Notes. 

for Saxophone A.MAYEUR. 

Two slurred and two detached. Edited by Paul de Ville. 



♦ 



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10639-103 Copyright, MCMVII, by Carl Fischer, New York. 



166 




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168 




Slurred in groups of two. (Play evenly the two notes.) 



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169 



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Slurred in groups of four. 



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(The first note should be well marked, and separated.) 



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Reversed slur. 
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1063S-247 



172 



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(The first note should be well marked and separated.) 




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10638-247 



173 



Slurred in groups of four. 




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Two slurred and two detached. 



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174 




Three slurred and three detached. 
6 , £ -_£ 




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10638-247 



175 



Two detached and two slurred 




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Four slurred and twr>detached. ^r 




One ^detached, three slurre^and two detached 




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176 



29 



Slurred three and detached three 



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1003 S- 247 



Detached one and Slurred three 

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177 




Slurred two and detached six. 




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Slurred two and detached two 




33. 



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178 



Slurred in groups of twelve. 



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I0638-;:47 



Seventeen Exercises on Syncopation. 



179 



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1063a-247 



180 



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10638-247 



181 



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10638-247 



182 



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Syncopation between two Eights. 
The note preceding the syncopation must be separated, and the quarter well marked. 



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13 



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106*8-247 



Syncopated Slurs. 

The accent must not be made by the throat, but by the action of the finger falling- like a hammer on the hole. 

The first eight measures which are slurred should be played with one breath until the rest. But should 
the movement be two slow, breath can be taken after the quarter-note preceding the syncopation. 




^m 



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10638-247 



184 Twenty Operatic Melodies 

for the study of phrasing and artistic delivery. 

Compiled by PAUL de VILLE. 

It is difficult to give verbal instructions how to perform in an artistic style. The great point 
consists in delivering a melody as if it were rendered by a great Singer. The student should uti- 
lize every opportunity to hear good vocal artists and model his delivery of "Cantabile" pieces 
after their example. Of course there are many artistjc details for an instrumentalist which lie 
outside the vocal art, and ought to be imitated from the performances of the best instrumental 
performers. 

Especial care should be taken with the articulation; the tongue must touch the reed in staccato 
passages at the very tip, crisp and clear. If the articulation is produced by the tongue covering 
too much of the reed, the tone will be forced and vulgar. The dynamic shadings should be clear- 
ly brought out, without resorting to extremes; vibrating the breath ought to be strictly avoided, 
and the ''roulades" (long vocal passages) must be fingered with the greatest precision, so that no 
break occurs. 



Norma. 



Andante con moto 




rail. ™f 

f7\ j a tempo 



rail. 



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Copyright, MC3JXI, by Carl Fischer, New York. 



La Traviata. 



Adagio. 



185 

VERDI. 



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186 



IlTrovatore. 



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Ah! Che La Morte. 



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Martha. 



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187 

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Allegro. 



Luisa Miller. 



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10fi3S-247 



188 



Largo. 



Giulio Cesare. 



HANDEL 



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dolce 



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N913. 



Tempo di Polacca. 

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189 



G. APOLLONI. 




N914. 



BALLADE 
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no <s. $}\h* r fj 

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10038-247 



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190 



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Allegro. (J--, f.o) 



La Gazza Ladra. 



N916. 



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10638-247 



192 



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10638-247 






Ernani. 



N°18 



Allegro con brio. 

3 



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193 



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10638-247 



194 



The Huguenots. 



N919 



Andanto. 



prp i ^ir 



_/? cantabile con grazia 



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MEYERBEER. 



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10638-247 



Air from Masaniello. 



Andante. 



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196 



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Allegro. 

J T T 1 



lento. 






^a 



10B3S-247 



Exercises for the new fingering i»* 

of the improved B\>, B\\ and Ctt Keys. 



Alt (new fingering) produced with the use of lever C, usually employed 
for the fingering of Bl;. 




IS 



I 



h pwj^v w wji/uiu 




Bl] (new fingering) produced with the use of lever D. usually employed 
for the fingering of A#. 




# 



C|t (new fingering.) produced with the use of 



ever E, usually employed for the fingering of Btj 



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i 



B\\ (new fingering.) lever D. 



■ ■ j j j j uj j jh ctjjjj Ujjjjjjj U - I ^MJ tt U fcU JP^l 



4 



Db (new fingering.) lever E. 



^^iy w^y ^ " l "W 




JJJJU MJ4MJwviv£ 



r-#*irn*-* 



I 



Bb (new fingering.) lever C. 



' J^Jr U^ Jr U i>i>v 




i 



C|t and Afl(new fingering.) leversE and C. 



'"' t^y? 1 Wj^ w " wjjjj? 1 *if 




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Btq (new fingering.) lever D 



^W 1 ^ 1 ^^ 1 ^ 



Bl) and C<t (new fingering.) levers D and E. 




« 



3E 



ujj | j,wj - | i:j|jjjjjj | jj|jjijjj | j 




4 



A#(new fingering.) lever C. 



"M)WW ' iJflPLOT tfgJLW ' tJ &4UMJ4J4JJLUU'ii 



2273-114 



#ar/ Fischer New York. 



198 



4 



A# and C# (new fingering.) levers C and E 



\ iiMw i\i \ik 




I 



B\\ (new fingering.) lever D 



"WWi I J i 




Db.(new fingering.) lever E 



a ut>.(new lingering.) lever n,. 




p 



Cjt (new fingering.) lever E. 



ipl 




I 



atj^r* 



As As 



6 +*+ 6 *^+ # ♦*♦ 6 + -d 



C# (new fingering.) lever E. attention must be directed towards the open G# (Hvette and Sehaeffer 

JSystem.) 



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2273 114 



199 



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7 



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D\? (new fingering.) lever E.the Bl> with the 4 t J 1 finger and attention to the open Ak (JEJvette and 
Schaeffer System.) 




Q>% (new fingering.) lever E. 



s 



5 



3= 



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Bl) (new fingering.) lever D. 



32 



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Bl) and C# (new fingering.) levers D and E. 



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Blj (new fingering.) lever D. 




# 



Bl?(new fingering.) lever C. 



VF=& 



w J/UUli t 




Bl> medium marked with the 4 t ] 1 finger, attention to the open A\? {Svette and Schaeffer St/stem) 
The low Bt (new fingering.) 




3273-114 



200 



A# and C# (new fingering) levers C and E. 



C#, Bl], A#,(new fingering.) levers E,D and C. 
Attention to the open G#. 




m 



+ 



%* TT * *£/ %***_ 
Cjl (new fingering) lever E. 



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A# and Cjt (new fingering) levers C and B. 



tt 



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2273rll4 



Progressive Major and Minor Scales, and Exercises. 

For Saxophone 
C major Scale 



201 



PAUL de VILLE. 




10639-1.03 



Copyright, MCMXI, by Carl Fischer, New York. 



202 



B\> major Scale. 




El? major Scale, 



i 



NQlO.Egg^^ 



pr-f- 



rrff-fiftfrifrjfrTj^i-i-n 



wh+ 



Ws 



C minor Scale. 



No 11. 







w^ 



Exercise. 



N9 IS. 




^ 



f f rrr > r f m Tr> i fi ^ t ^Sr"^ , i 




^^^ 1 ^/37 1 r ^jJT 5 P = l 



10639-103 






203 



Ap major Scale. 



. j h> | 



^ 



^==3 




N913. 



^ 



'F minor Scale. 



N9 14 



N9 15 




D » major Scale. 



N9 16. 



. i ^ « n^CTr c ffflfrm 



^ 



^rmi 



B\> minor Scale. 



»« j^«j j fp JBTr r^W^nw s 




f 



Exercise. 



HttM ^^M J^TJ^ J.rjff 



r^^.rffl^^ ^ 




iig 




imfTDiUf 



m o 



m 



10639-103 



204 



G\> major Scale. 



NO 19. 



4VW' « J ^3^ ^ 



^ 




1= 



El? minor Scale. 




te^4£ff^4 rr^j irr r r gjf ^r-TTliJ - 1 



C\> major Scale. 



N9S& 



i^'l," 




rxrrif^rir-ffr^^ 



^ 



Al? minor Scale. 
083. £ b'#|, (', I 



fr j i » i f ^gj 




■Ji't'i'i rijj^ii' ^ ^ i c ^jB jCT j^t i j^i 



10639-103 



205 



6 major Scale. 



N925. 



2*«rn 



i 



N926. 



E minor Scale 



i 



Exercise. 



" JJ^Lffl 



firfffff^^W?^ ^ 



N9S7.i 



■ | * i e^s-t ^r^r i ^rt^^ 





D major Scale. 



NQ2& 



4^ i^rJ^Tr rr ciff i fffrrj^ 



^ 



cr 



B minor Scale. 



»m ft B jj jj gJT r r f^*rrrtlrrr^pT]^7^ 



Exercise. 



No 30. 




-# *■ fcT^ CuF ^ i ua ^ i^ 



10639-103 






206 



A major Scale 



N0 31.^^^^^P 



N932: 



Fjt minor Scale. 

Mm 





N9 34. 



C| minor Scale. s^bJ&m. t<£:-)im.hm. - ^""""v. — ,. 

»« 5 pg^^^lillitisii^gF 



Exercise. 




fh ^ ^j^T^jfTr j^ ^^^^^ 



B major Scale 



D lliajuf guaio. ^ — j^ — ^^ 



Gjt minor Scale. 



10639-103 



U5 minor scaie. ^ ^- 

N9 sa -ijWiHHt-J J J r r r r I 1 ^ 



^feg^ g 



^ 



207 



Exercise. 




C# major Scale. 



No 43. 




ita 



A# minor Scale. 




■M" jjj jJT? 



N o 44^^^^ 



Exercise. 



^ 



r t T^r ~ J| ¥jft 



rxr^ — i 



N9 45.^ ^R)t%-<4— P ^ 



U II I II n [I 1 1 I '^ U 1 1 1 



i^fr^m ^^^^f ^^^ 




10639-103 



mm 



208 



Interval Exercises on the Major and Minor Scales. 




D minor. 




B\> major. 



N95 - | 1 ' '-jJiJJ 





G minor. 



^^^^S ri ' Tr' i 'rnr i r fh'i [^ .^^NprTj u 



10639-103 



309 



Eb major. 
No 7.E fo h V % 



rrfr ff ffff 




106S9-103 



210 



Gl> major. 



N9 13. 



. i\^ « i,OT a Yi rftjiTfr r ' r r 'rri ^TO^j m i 



Eb minor. 



N914. 



M 



\ \> t* 



nv^WW# 




pa 



-~y r _<^J r ^^tt^ 



1 




Wi. 







G major 



NO 15. 




E minor. 



NO 16 




No 17. 



D major. 




211 



A major. 



Ne "■ J ff || lt " LJjjLiri r Ti TrrrnrnTlrM^ij^I^in, 



F# minor. 



No SO. 




N9S1 



E major. 

•itta 



fe*«*s 




C# minor. 



TS922. 



- ^^^^j^ m 




^SS 



i^^fe Agife 




No S3. 



B major. 





G# minor. 



tJ Vi'u 1 1 pr[y J 1 1 1 ^r pir^r 




10639-103 



212 



Studies on the Major and Minor Chords. 



C major 



N91 




C minor. ^^.^ 




At major 



N<?5 




gig 1 J ~5» 



DV major. 




[fi 6.^^^P 



10639-103 



213 




m 



C# minor, 



'J s l'j UJStf* 




B major 




214 



Exercise on the Chords of the Dominant Seventh. 




Exercise on the Succession of four Diminished Sevenths. 




10638-247 



215 



Ten Studies on appeggios in different Major Keys. 



N91. 



3k 



HP 



m 



mr m 



0.0 6 





f tflfffr£\ F ffl^ feg 



m 



mm 



=£- 



*&=* 



4 y r ^m^m^^^0m^' ] * " 



N9 3. 



# 



ru 



5 



6 



1*^1+ 



I m j; 



i» # i # 




rf\ fffl fl i f Cr 



jjj^'' ya^j^v' ^ *^^ f 



^ 



W'0 



*~* 







10639-103 



216 



Chromatic Exercises. 



Study these exercises slowly. 




4ff l, fr v rr J 'r-i*#Ff* 




«rr*rf f I 




1141-^W i r^jy l 



» r r r fr r Ifr f »r fc^ 




. 217 





SSZ 






U 



Wfr 




^JUtjJi^ 



k?*1*k 



gllli 



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fc 



* 



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fc 



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Sail 




lr ^^ j TO^4a^ lJ ^J j ^ j u j ^P 



10639-103 



a is 



EIGHT FANTASIAS. 

FANTASIA ON DON GIOVANNI. 



H.Lazarus. 
Jlevised by Paul Be Vitte. 

MOZART." 



Andante. 



-pp^ 






I 



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^cir^n^^r^rt^ i ^ggma 





inn i rlr <■ 1 ,1 rfir^bTJ fliJ f f r iff fjyj g 



a , m 



<x> 



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cc/igfrfr 



S=P 



p 



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j i r r i r 



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J90C0 anmiato. 




p 



v 



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: l r[T^j J'i^Tj i jiJ j i f r 






8435-99 



Copyright,MCMXI, by Carl Fischer, New York 






SCOTCH AIRS. 



219 



Introduction. 
Moderato. _ 






P 



^ 



^£ 



^ 



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^^ 



ritard. 



V 



r~nf r ir Mfin^Hi 



# 



Andante. 



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Mr i r - i uij ) r i rjr£ i rt r ir^ 



#• # 



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MU*- f^ 




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ppp 




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m^ 




m 




p wr ' ,r ^ i Lffi sg 



^rfrr i r 



££i 



P 



£g 



F=i* 



a tempo. 



a ##-i • . ritardando. ^ /7\ ' ^ ^ ^ 



s 



P r^j^'L- 1 •Q | j jj| " ^ 



^=5 



1 1 i , JJJ -l ini l 'T^ ^ 



a tempo. 



^rp i ^irrr 



Hi "_'i i? ■ 'M Jg? i f r 



:fe£ 



tS» — 1» 



^ 



p 



! iiji , i L urii r iidii" ffr i^" i|Ti 



8465-99 



220 



GERMAN AIR. 



Andante con espressione. 



S 



P 



J J JJJJ N, ^ 



* 



PP 



4 j mj j_j i rr i I 'rp'rp'r j ' r 



i 



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PPP 



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ffTnrg 



*F I 6 



r? m P 



t=m 



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£ 



f> r^ ^ ~y 



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£ 



All? marcia. 



1 - 1 ■TO i j.nrrrY'iTTjTi'.^jMrryp i JJ a 






J J y 1 1 1 | I p r 1 *f ; 't 



« 



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nr 



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Mf rSH J JJ^ 



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8465-99 









SWISS AIR. 



221 



Allegro 



4 - pjjfj j^ l 



ritard. 




r Crr & i f J ffTr jgJ ^i-^J^r ^g&ir^ 



^> 



^ 




8465-99 



222 



GERMAN AIR. 



Andante. 



Lento. ^^~~~ j£^T^T~"\. ritard. ^ ^js: >^ T^ I 



?T^ 



^ffg 



^ 




i» 









un poco animato. 



#r> 




.y <y ,y > -<. y .y ^ * <* 



P X ■* ,i ,y 3 ' ,y 



1 



75* 













PT^ ^a 



rrrLD'rrrirrrcrr rc frrf ircErrrrrJJ^T). i ijwn 

.y «? ,'y L !y ,y ' *Tv ' ^ y >* ™ "r^¥ i UJ ' 



t/if - 



I y 7 it^Qfhrrffl tCf fr r J7] I , * f h g r 



un poco polacca. 




IS 




ft 



pjjj 



>»»| f fj 



pi 



ipft 



^^ 



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-»-— --«- 

s 



^S 




8465-99 



Tempo di Bolero. 



6. 



BOLERO. 

1 



22li 









$ .innp i gptrfl i fPjTiytrrirto' i '."^. ! ! !^ 



,tr j r [Tii| uHfTrni p 



-^ 



leggiero. 






r 



jpj , - ^i i JJTi fffi i r ffi W! n i J7TI rrn i . .'^T i j?1 TO 




eleganza uh jjoco risolufo. 



W$\ftQ\ty$P\j^n \ l W$\fru 



j J^i^l JTfflL I Jj^lil fli lin.ugiai 



I^^^Trnj- i ^^i^ij^ 



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^ tempo. 



f »>f 




^^ i tr c wi J -^irTO^i J j^i j PgQ? i 



1 r~h m 



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ppp 



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crajj-J 



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wi poeo animato. 






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18465-99 



/• 



224 



Allegro 



BOLERO. 
Allegretto. 



Aiiegru. - : — ~o -• m .. v 



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,y 



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■f 1 n jnirfrrii iij^j 



,y 



cr y ccrrri ' y Er £ 



feai 



fife 



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rrfrrf i ffrgf f i tf[g- rr icrfefir i rfffr 




r^ i cf 7 d > rr | c> 7 [rrrr | ^ y i*rj 



j rf fnn'nu 




8465-9$ 



337 




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Allegretto. 



wm 



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Jft JfriiMrir X 






l0f;3S-247 



228 



Allegretto. 



TuT^: L-i+\ 




7r> • . fc-, 



ttmTrrrTrrte 



'"■Trrrfrr ri 




V~*~>\'. 



p 




i? r Hr ^T~n 



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10638-347 



229 



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10fi3S-247 



230 



AllegrOj. 



tr- ,# — 




i'i lUirrii irrr 






g^ If^rT 



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f TP ^iQ jrrrr i ^r.T i rT^Jl+f^ i j r i rTr a 



= / 



10638-247 



9.aS 



Allegretto. 



331 



p leggiero 



i^7rLff | fff lt f|r-ff|ffjij^ 



*-* 



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poco rail. 



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rail. 



10638-247 



232 



Allegretto. 



m if 1 ' | l lg^u\^ir h| llJ l 3 |i '^ fl ^ Sfe ffl 



f"u ^jii^ri ^rrfirr^r^ i cv^rj 





4'rru l tU'i$ \ rr r UiJU i JhfZr±tt;TU}i 



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m 



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TM 



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&* r r qj 



£4 #g 



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PjOunpoco lento 



wm 



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4 



— = = -— - string. 



i:S3E 



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^^ 



,» fnjrc 



f'fteVJ 



Tw'c/'M' ' ^jj^'ijjiijj? 3 1 



# m^rgf^&i^rrir fTttf f i 








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p ^ f ht~f 



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iirr g un 



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10638-247 



iS33 



j* FT^&'imji^j^r-j^j^^^ 





Allegretto moderate 



/ = 

Extract from a Clarinet Solo 
by G. MULLER. 




dolce 



| f m , 



*> 



* 



>..*. 



rrtrrfrrr t i ^., M 



FE 



r 



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mf m f> ■ » 



m 




H^ i r;^r'ci 



LO 



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fr i^ 






fi feB- 



\Y~ 



f 



f 



B^^ 



V 



vv 



di?n. 



a tempo 




10638-247 



234 




i^j 



m 



is 



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3^ 






^: 



T Lj_r l, r 



Q^r ¥ ^ I f f j ^HTTyi 



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r ^r *rV r 



>,. • . i p > & » >. 





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M^a-4^^ 



tr^ 






-r^ ^v 



10638-247 






235 



* 



^rrf s\ u ^^ 



"rrrrf "'i ii ,jt i =§^ 



f I r tt rrr^ ft 




a tempo 



rail. 



j r m r± +U 



y v p v r 



ft ^jL^IJLJgp ili 



£ 



g fcfj-E ^xJ 



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j i 1T1 "i i' ^rYVf i fff 



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a, | f'lTTrTrtvii i 



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10638-247 



236 



Theme with Nine Easy Variations. 



P 



THEME. 
Moderate 



m m 



5=f 



lS>- 



^#£ 



m 







r cjr r i r n 



s 



pg 



4 



^ 



r i p r r^p i r^ 



s 



¥ 




VAR. I. 
Moderate 



"' 



F iF mL 0- 



■ • » i r 



mjtun 



^ 



i»— y 



' 1 i* 




Lci/iciL 1 asi 



.-■ Jr i r # 



*4U * 



h, i r T r ^rf ^ 



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m 



WT+ 



+->;*■ 



rail. 



♦ r*' 




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VAR. I!. 
Moderato. 



^ 



^ 



€ 



* mT P » r- ^ 



S-s- 



B 



f= 



m r p - * 



F 



m 



^ 



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a tempo 



>&k~\, 



ffrfir fTrf-r-^H 



ra#. 



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10638-247 






VAR. Ill, 
Moderato. 

3 ^ L 3 



237 




-^ a ru r j tpjt | j-^ fffT, m^ ft Cuts 






'»rft» 



^ 



m ' - 3 






.6\ r> 5 



te 



ra^. 



X s ' 





pp 



The following variations to be practised slowly at first, and increasing* the time as the fin 
gering gets easier. 

VAR. IV. 



.# 



€ 





* f r r 



5 




iun,iii^i' \ um 






carC^ctlrUcf i ttD-ti B 



a tenvpo 



^ 



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ite 



n rccuwcED' 



£ 



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10638-247 



238 



4 



var;v. 



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^ 



TTfflBl 



# * # 



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* *. 



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Lxa^ § ii B i rfU LJ luj lUj Il^lj U^ i 



s 




Jg uS JTP oE idS" 




S 



z: 




i 



F 3 ! 



^!>^- r 



VAR. VI 



J- ■ j jia^j^r f 



gj 



#♦# 



>^-p <jj 



CEf^llJJ I J J ^^^ 






;.affifc 



# 



illgjgi^pi^^il^ il ^ 




10638-247 



239 



4 



VAR. VII. 

Alia marcia. 



•j 



M 




♦ , r^ -s ^m ft** f\F*mm± 



p 



f rP> f l l » 'fle l » T l» 



' 1 * 



#*♦ 



#'# 



# 




CjiT/ciD'^r B 



* 



ffi* 51 



C^ J g 



1^ 



rfcrpr/ffli 



an 



raff i tiffttry irTrr rn 



s 



VAR. VIM. 
Alia Valse . 



* \ — Iff * <m \ m± 



ff ^p 



rfftga^ i r ^riri^^^^n 



Cjrffl 




•crnrcu£f i -J"£t£r i rg ^g 



■I 






Jfl lrJH 



^P 



5 ^ ♦ Jf 



£ 



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a tempo 



• J> r ir J>r i rfrrjc f i U Cfr rr i V ji r s 



* 




^fr«rr¥f|ffrfr|fr 






W 



Z2I 



^ 



*=^= 



VAR. IX. 

Alia Polacca. 




mrr p i 



10638-347 



240 



Theme with Variations . 



* 



* 



THEME. 
Andante . 



MOHR. 



P w^ 



dolce 



^m 



Jgp J J~3 



m 



# 



£ 






^ 



1"", rnjjLi 




# 



S 



pc 



CSD 



I 



fc^fr 



i 



zz: 



P 




^ 



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VAR. I. 
Moderate 



^iiin i jggn ctfftj 



p^ 





»s 



p?»*# 



&* 




ff j| # f' # _ # f 4 



g 



T . . r fr » 




fi 



M=i\i 



w~w 



I 



^ 



•fttni r --rr T i 3jff^ 



i 



I 






^^ 



j tt " iig.ijjj rti t rff ' Hn mm^ ^m 




10<>3S-247 






241 



VAR. II. 
Piu vivo. 



-pn^n 



U^W 



Zf m 



I 



i i ij] r »Tr rjrr T r f 



s 




#-<• 



3, ^L, 



^ si 



<? 






«? * 



.«? ' 



4 



i 



JT'uffCTiJf i af ii i^jLij i fjjiji Lj 



■*- T ^JL J, -JL 



# 



^^ 



^B 



nl rTTTn 



- ' '-y V ' LCJ* '^ 



«L- ' <i. 



.? 



i 



«j"m "-ELT 



NrrT^I i n1lr7.J71 



^ 



»n- » 



If 



*-w-# 



a ^ <^ S~ 



*JL * . j ^ m ^^^ ^^ s ^ ^? 




u T'frf|frti llLiJ iiHjii 



* "T"' \i, ; T .L ^ 



VAR. III. 
Adagio. 



]» " li f r ' T n HT ' qfr 



6 



#^J* 




£ 



& 



^ 



* 



fe 



i CTJ-"3 I JJ^" J ECfl'l r iB 




^ 



£ 



^ 



-# # 




^1 






£ 



ptfg 



^ 



# 



^ 



-JL 



^♦J'J^ i i4 




1C638-247 



343 



VAR.IV 




^ nvn ^j^ v ^ 




FINALE. 

Poco Allegro. 



4 



S 




tMM 





m 



S 




j dii u i3 1 



f i i Q cffrrrrj 




a^iu g iuT rrr ru^ 




10638-24" 



*t r 



Twenty Studies. 

For Saxophone. 



Andante. 



243 



A. MAYEUR. 
Revised .by Paul de Ville. 




iN 



Pf^ 



f 



;z 



#H* 



fi^T" 



mz 




10639-1O3 



-Copyright, MCMXI f by Carl Fischer > New York. 



244 



Andante. 




i h Cttrcccr* 





fpff^pftpf 



i 



V^^f 




m.rrj£frP i n ^B 




f"W^ 




r^^igU/c^jg 



l i 



. TUJTn^rrrhrjui/^ 



#-w-# 




gatztt 



p 



10639-108 




pfff= 




^fifcg ft i c tf 1 



Andante. 



245 




jj^ill^f^fg^^si ujwgjjgjg 




# 



mm 




3 




iza: 



z: 




^5? , teflfVr^ 



r rhf i'p »i> 



S3* 




CPE 



P# 



P 




2M 




Si 



^s 



\ m m 





m 



fcf 



fe>=fe 






s&s 



z» 





£ 



P*- 




$ w* • 



10639-103 



^P\ci ^^J^[a- i |fflfB 



s 



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246 



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#PP8 




ntfU^j 









ji'iijiuij'iiM^ijiBTi'ifrrj 








~g BSBBS3 : 



f 



* 



^eLu^i 




10639-103 



247 



Allegro moderate 



5. fr y'/m ex jj- 1 rSfP v i ttir ^ fr I Jff p j 



fc clrTr icxn^ 




^ 



s^ 



$\\.t&fti i to^i/r^ v i g p^ 



|b''i, j ]p j jj ] i j^fT^ 




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f 



* r^trj/ir^ ^u fl^ i ri^ itttrctfr 



|A JflV iijr Pr i ffir 




10639-108 



248 



Larghetto 




* 



1 'ruj''T*JiVuJ 



2 



4e 



• V 



si 




fer.frlF 




^r 



JL v«? 



' ■ t¥U< 'l-'UJiJJ. 1 



3 ' ■*■' sSSP 3 



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^■Turcjfr' 



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w 




w 



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ePIk ^ w uj a i m i 




X v£ 



^ j^ .?, «? 



5 



Me 



B 



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£ 




p J Ul 



J " • «L 



10639-103 






849 



7. 



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Adagio. 



» Z~ v /* 



=F=#= 



f 



mm 



^m 



=B^"r 



iiS 



j^^ 



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h 7 7 



3 



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3 



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■# F 



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«: 



tr-* 



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1 



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3 



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m m 



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«. 



^ 



US 



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» ' F ■» ^ 



W* * 



* 



po p ^ _ I — ~ 



S= 



d * m + 



10639-103 



250 



Moderate 



8.g|fe 




10639-103 



251 



Andante . 




p^ 




w^m 







CT J7P71 ■ JT P 

+ — S m 4 m g ' 4 m -#— 



3 



3 



wm 



m 



-6 — '- 



a 




*? 



+ m 




3= 



# 



4 



^^ 



s§ 



p 



«fl 



♦ 




a 




31 




i 



♦ ff 



arrfrrr^^i^ 




& 



*.+. J* 




^ 



3 




10639-108 



y 



252 



Moderato 




Moderate 



11. j^ffP- 



£& 



r *fi \ T *n u i . t £ i: r *m 



i j^oiWuj i )in % frrT^j ij^uj m m i 




J ft i j Is m % i, fwtfuj f f i j^u£r? % 



10639-108 



253 




f' T i Tn i ^j'^ri ' T i 1 ^ 




10639-103 



/ 



Allegro moderato 



12 



•## 



* '&-* 



'l d& \ mm j m 



4 



*= 




m 




#. /^ *- 




P 



frrriLCLr^ i ^g jg 



P — - I* 




m m 



^j^^'m 



m i ;,7r m*p] 



* 






IWjn i nfl 




P^jiot 



10639-108 



Allegro moderato 



255 




^^^^^^^^^ 




♦^jg^j|sB^g^ii 



^ 



^^gfefe^ 





^^^^^^^^^^^^fe 



# 



^^^^^^^^^^^^^^ 




^^^^^^^^^^ 



10639-108 * * 



256 



ModeratO . Count four beats to a bar. 



u. ^^^PprT hi nQJ i r" 1 '^^^^ 






jt ufflr i p «Pttfr i[jffp ffiiJ»«PTftrir,rP tSfin ^Nlte 




10639-108 



357 



Moderato 



* 



£ 



/ 



tf 



3 



^m 



a ± £ *. 



— . \ 



# 



i 5 



k jg i jJJ rcfj ffij^ ^B a m j ^ 



** 



* 



?■ 



H§ 



W 




#i^ 




r r i^p J # J J 



l" '''MOTUj^jj jj jifJJJ^ ^ 




J i' uJrrrrn Tfl ui^ 



^ 





*=£ 



m t > m 





^^ 



^ 




2* 





m) 



^ 




^^ 



3 



3 



$ 



tr^J * ^ J 



f ^JJlJJL I J tf M 'l '^™^^ l ,J^^ 




f ' c^^^ja i ^^^ 



^ 



j~] bJirn 



£ 



^ y ^5jg 



i ^^Tft 



? 



XM 






m * m m m $ *-*-%* 



£ 



rfm. 



* 






i>. 



cresc. 



r N^ jfl LMP CClEf^ 



#-^i» 



S 



PP3 



10639-103 



258 



Allegro moderato. 



1A ^¥^ ^^^^k l \j[ WY ' r 



BS3B 



^SBW^P^S 1111 



g tfrfrrrtn rrf ^ 




10639-108 



259 



Andante moderate 



'. ^^i 



fa^ E 




t^^^H^^m 




10639-108 



>60 



Allegro moderate 



I\ ^ 'T 



, f i^ffffffrffjj^ 



-3- 



f P 



f P 



-Bz =r#: 



3 




4 





-#z 



•\d *G 



%*=*& 



1 




/T\ 




See 



-e 




m 






fcfc 



tfrmtirdi 



f v 




261 



19. 



i 



Allegro moderato. 



k=q 



V\> j J J \J jd^ 



^r?«rriPrf^ ££ 






y p^| > pil?# rr ['pty 




te 




fry. 



^IH 



^ 



« tempo 




rail. 




^m 



m. 



ir r^T 



py T-frrf 



a hf t) 



i 



# 




JtfT i Q jfl 



JsO 



rTf-fr 



+-?■ 



\? b» i » 



jth, tt&tttr^ i g ht\i gg i g iTTT iTi iTr 




ji>,, ^rrfff^r+a 



^ 




: p^- 



^ 



10639-103 



262 



Allegro moderate 

tr tr tr 



so. jli ' '\\ 1 1 1 Hi ,i mj mi m iT i'r i B B g 



* 



a- r p i p jf-4^ 



to 



» l» 



rr 



PirCfrrTir^ifCff^fir^itf 



irrr,P | ffr,F | ff fa^ 



^ 



m. f 



rwUftffW^ m 



j-c.fff | ff£f|FJ | ffrr>|f ^ i rr BJfep a 





10639-108 



FIFTEEN STUDIES IN THE MEDIUM REGISTER. 

Edited by Paul de Ville. R Lai ->. 



f [pi I ffl i gnW iPlt t ri fr^ l ^d^ ' n LL ifuL 



^^^i^^^tt^^^^^ 




JVrtiiKi 






/jT^n ,y 



-y i^ •? 










hy ^ 



jflflflJJJ I jfl?5Bag5 






G 

8465-99 



Copyright, MCMXI, by Carl Fischer, New York. 



264 Moderate 



*^m* m f l 











2.1fcW 



& 



J lj i ii Qj i ii iDjTu gj i u i l 512?|fr?^ 1 i ' I jcJ^ I jjIu - 



4m[n^ \ M^^W^lLf S^SM 






' m w m - — — 



^ I* m^lS m S 







MpE^fc^^ 









-^- 







^rfrff efr flif 




*r>*.^ b 



Ify U r I'tfli f rffj-r ^ 



j¥ftri»rf i ^^&i | ir f rrr. * i' f ir-ri ! - - i i m m m 



!fi f P ^ rfii ^ c| !, i | rfriiinii^tfr|ffrrf|-fririTi 




• y 8 - £- ^ «? 




rfrfitlfif.m i P^HjijMjijjMnJT ii ^.^ i 



JtM^Ji i' rJLJg 



<? 







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/7S 



lira 



pn 



8465-99 






205 



Moderate 



m 



i 



ryrri^t 



3. 



^m 



^ 



f p n*rrr •wr\* f7 } r 



zz: 



£^§ 




i£ 



^ 



* — #■ 



•? 

* 



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^ — ^-^ 



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iV^*?; Piano parts for all of the following Solos, and Band parts for the last three Solos, can be obtained from 

the Publisher of this method. 

10638-247 



Alto Saxophone. 



'Magic 

Concerto Militaire. 



303 



C. KUHN. 
arr.by E.A.Lefebre. 



Adagio. SOLO 



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5X19-4 



Copyright 1898 by Carl Fischer, New York. 



304 



"Serenade." 



El> Alto Saxophone Solo. 



FRANZ SCHUBERT. 
Trans. by E.A.Lefebre. 



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Copyright 1904 by Carl Fischer f New York. 



"Give me thy Heart? 

Solo for M Alto Saxophone. 

Bf» Alto Saxophone. 



Andl e conmoto. 

espress. 



305 



TRANSCRIPTION 
arr.by E.A.Lefebre. 



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9687-4 



Copyright MCMVby Carl fischer^ew York. 



306 



"Ballet Music " 



_. _ ^ , from Ch. Gounod's 

Eb Alto Saxophone Solo . u F aus t? 



Allegretto mouvement de Valse. 



arr. "by E.A.LEFEBRE. 




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Copyright 1°04 by Carl Fischer N ew York. 



Berceuse. 

Eb AltO Saxophone Solo. (Cradle Song.) 



307 



GODARD . 
arr. by H.A.Lejebre. 



m 



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8349.5 



iz: 





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i~fc±^ 




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Copyright 1904 by Carl Fischer New York. 



308 



El? Alto Saxophone Solo. 



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8349_5 



Hungarian Dance. 

El? Alto Saxophone Solo. 



809 



J.BRAHMS. 
arr. by U. A.Lefebre. 



Allegro molto. 



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G.B. 
8352-6 



Copyright 1904 by Carl Fischer, New York. 



310 



El? Alto Saxophone Solo. 



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8352-6 



"CAPRICE -GAVOTTE." 

(Solo for Alto Saxophone.) 

Alto Saxophone Solo. 

Tempo di Gavotte. 



311 



E.GILLET. 

Transcribed by E.A. Lefebre. 




Copyright 1900 by Pari Fischer New York 



313 






Alto Saxophone Solo. 




3 



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6205-8 



"Happy be Thy Dreams!' 



313 



Air varie 

for Piccolo, Ek Clarinet, Ei or Bt> Saxophone 
SolO Bl> Clarinet. Baritone (Tromdone)or El Bass. 

(Et> Alto Saxophone.) 

And?. 6 con moto. 

TUTTI. 



arr.byPaul de Ville. 




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G.R. 
9773-16 



Copyright MCMV by Carl Fischer, New York. 



314 



Solo Eb Clarinet (Ef, Alto Saxophone.) 



* 



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9773-16 



J- J J"i J J 



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815 



BLUE BELLS OF SCOTLAHD. 



El> Alto Saxophone. 

Solo Et Clarinet 

Moderato. 



Air varie. 






THEME. 



Paul deVille. 



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rai(* 




Copyright J 891 by Carl Fischer^New York. 



316 



Elsa's Dream 

from R.WAGNER'S 



ALTO SAXOPONE. QftT ft 

Eb alto or HORN .) &uljU - "Lohengrin." 

Solo for Cello, B\> or E\> Saxophone, B\> Cornet, Trombone or Baritone. 



Andante moderate 

Tutti 



Arr. by THEO. M.TOBANI. 






# 



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G.R. 
12038-33 



Copyright, MCMVIII, by Carl Fischer, New York. 



ALTO SAXOPHONE SOLO. 



317 



* 



SOLO. 



un poco piu mosso 



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12038-33 



Solo Eb Clarinet. JQY2Y11Q - Polka. 

and Solo E\> Alto Solo for Piccolo, EV Clarinet, Alto Saxophone, 
Saxophone. ' Bl> Cornet, Baritone or Trombone. 



Webb-DeVille. 



Maestoso. 



^ 



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1159a- 14 ^ 



Cnpyrizhi MCNVIT ?>?/ Carl Fisrhw Now York. 



Solo E!> Clarinet and Solo E!> Alto Saxophone. 



319 



tffTUTTI. 






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2>.«S*. to ^ Polka 



CODA.|§|| 



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11592.1'*^ 



320 My Heart at Thy Sweet Yoiee 

("Mon coeu)r souvre a ta voix") 

Cantabile from Samson and Dalila. 
Et> Saxophone 0. Saint -Saens. 

Solo for Cornet. Clarinet, Trombone or Baritone Transription 

B\> orE\> Saxophone. by Theo. M. Tobani 

Andantino 



^ 




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sc 



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Copyright MCMVIII by Carl Fischer, New York. 



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BIDDING SECT. JUN221964 



MT 
502 
V5 
Muftt 



Ville, Paul de 

Universal method for the 
saxophone 



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UNIVERSITY OF TORONTO 
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