PART

III

no PA =o "CM =^ |o
Ico

1905

MUSI

1 Fisch

"""

BARY

ft'

rDDMIKDS LTI

5>00

-*0-"70

SOUSSM ANN/POP. METH. VDL3

Presented to the

LIBRARY of the
UNIVERSITY OF TORONTO
by

GARY ARMSTRONG

H.

SOUSSMANN
Complete Method
for the

FLUTE
Revised and Adapted by W.
English

POPP

and German Text

PART - O503
I

The Elements of Music. Easy Exercises

PART

II

-O504

Easy Duets for the Formation of Tone

and Progressive Studies

PART

III

-O505

Twenty-Four Grand Studies

COMPLETE - O506

Carl Fischer,
62

inc.

COOPER SQUARE. NEW YORK

10003

0505

94

H. Soussmann's Celebrated Studies.

Die berhmten Etden von H.Soussmann.
Revised by Paul de
Ville.

C major.
Exercise for the legato playing of two notes. Great care must be taken to keep the two notes exactly equal, and not to make the first one too short. The Scales which precede each Exercise must be it)
erste als

C-dur. Hebung fr das egale Binden von zwei Noten, ohne die Vorschlag zu nehmen und sie dadurch in ihrem Werthe zu krzen. Us muss demnach die genaueste Egalitt beobachtet werden.
*")

be practised carefully, slowly at increasing speed. 1.

*)

first, with

gradually

Die jeder Uebung vorangestellten Tonleitern sind vor-

her sorgfltig zuerst langsam und dann-schnell zu ben.

358
"O"

-<v

~o~

~rr

--

~ iX

- ^ ^

PP<^>H>

^
3p

st

^ ^ ^

-e-

__

"TT

t%

"

-e-

*<=f>l>P

Allegro, m.m. J=i2o.

'i^mmM

KKIfl-J

Copyright

MCATVI by Carl

Fischer, N.Y.

95

^ ^Jj,JJ^Jji^,jjJJyNj^jJJ^ff9^
J

s^

ffffiffffiQfffil fE

'

PJTOjtjj j
i

^.^i^Ecragl

g.r-ff.

>^#

rggg

1092

96

A minor.
Exercise in Single Tonguing, by articulating the sound "Tu In this kind of tonguing the tongue must lie quite
loose in the mouth without touching the palate otherwise the articulation is weakened and instead of "Tu'the sound Du is produced, which in this exercise would be wrong.
;

A-moll.
Uebung fr die einfache Zunge, durch die Artikulation Bei dieser Art Staccato muss die Zunge stets frei im Muride gehalten und durchaus nicht an den Gaumen ge bracht werden, da der Stoss dadurch weinh, und die Artu'.'

tikulation
statt

du" entsteht, welches finden darf

bei dieser

Uebung nicht

-e-^i 359
ZEE

-e-

^ :}W^=^

:9t

n o :x*fete

^:xl

P-^frho o

tl

zss:

PP<f>M>

092

97

r*f

mmmmrn

^ Tfr^

Trig rrr bJffi rf'rmfff

jgw^ Trf
r

Trf ri

S& ^"'"'ifcggg
P=5=

St

gj

10092

major.
Hebung fr
Accorde.

G-dur.
schnelle chromatische

Exercise for rapid chromatic passages and arpeggios.

Lufer und gebrochene,

die Hauptnote gleich-

The small notes must be played very

that the principal notes

rapidly, in

order

Die kleinen Noten mssen an

verliert.

may

not lose more of their val-

sam herangeschnellt werden, damit

ihrem
Werthe
Bei

dieselbe nicht zuviel von

ue than

is

absolutely

necessary. The divisions

(II)

may be
they
in

willkrlicher

Wiederholung
Striche

repeated from the Double Bars

should be played
both styles.

at

pleasure;

kann man
(II
)

bei einer

jeden Abtheilung der beiden

(forte)

the first time, jp(piano) the

einmal forte, das andere Mal piano blasen,

um

in

second, in order to acquire clearness and certainty

beiden

Fllen die gehrige Deutlichkeit und Sicherheit

zu erlangen.

3.
3--

360.

O "

-- ti

o 31 -O ^=^

*>

^^^---^^^ w' ^
^Z=

_.

^^

33=

33=

PP^f>W

=V

33=

Andante, m.m. A 88

^nfr

if
i

ngjgj

/ T^r

mi
"if

fVUtz

10092

99

WW
-r*-F

-+i

iM^m M*
if

^Jtt*&*s
Il =

fffe
JE

M.

fi*"
H*-

f
\

I!
i

-;

'

**

^m

10092

100

E minor.
This Exercise must be played with great feeling and
attention to detail.

E-moll.
Muss ausdrucksvoll und mit
tragen iverden.
gr'sste

Genauigkeit vorge-

4.
361

.Ol^-O..

^ i.PP^f^PP

ii

p "

jM?r

n*

.Its*

\'

X^v^

tefc -e- Q_ =s^ "i^t "

=^

V "?," V

Scttcr^jgi
Adagio. m.m.^=88.

er esc.

.flfjftf? /

flgijfl f |tff flrr

I00M

qgLa Lr^dr'^
l

101

jtlt^tnit:

10093

EE^'j;

D
that in

major.
Das Staccato
gnzlich ab.

D-dur.
in dieser

The staccato in this Exercise is quite different from N? 2. Hold the tip of the tongue between the teeth, letting it touch the lips; then draw the tongue quickly back, still keeping it pointed. By this means
a very

Man

halte die

Uebung weipht von dem in X?2. Zunge spitz zwischen den

stets

spitz gehalten,

Zhnen an den Lippen, und ziehe sie schnell, aber wieder zurck so wird dadurch ein
scharfes

sehr

pronounced staccato will be obtained.

Staccato entstehen.

362

4
''

-<rV JCE

-e~

^ ^
--

V* rt

.: ^Al.. t>ixa^^z-VF ^ii^ Ai =$Z=

->-
\s'

-n

" " oa
\y

"o

jfl^J

Alleg

rc .M.5

9-

f=

#-

v--^
//"

JPtua

~m

-Psem pre
ff
st acc art 1.

'

***

# kj^
i^frfeF

f e

gl ft

b.

T f

e^f
ss
1

*e

1*
'

- f

*f
'

p #

ad
Lfflj
1

d^gifl
.

HP

#e^%

LOr LdJT

gs s
t

I mwiu
-

f-

P* B SfWlfl/l^LLfl'cLd^ *
1* -

^ -

# -

-0-

r-

t-

11

iOO'.t

*
staccato.

U^^MM^M, m ^=1'^
I
$-I

dd'dJ'

'

vmiL

w& tiM
\

gg

tjf.

ii

a g
i

gfe

mntefi

^s

f f f f

-_--

r f_r r
i

^cLfif cuTeIcT
'

^ '^

i

ctLcT

^JfifJJ
-p

fi^ir f cf rfi

i Tt

.^
JUuQj
a ? t *

pP FF i^ j V n rirrrrrirPi

rrrrf ufi fdlfi

g.M

* * I
eUJ

10092

te

'

JJ

^^M^riA ^
e
t>*

^ ^ g

104

minor.
Diejenigen

H-moll.
Noten die mit A bezeichnet sind, mssen

The notes marked thus A must be very strongly acMelody into proruin ence; by this means an Effect is produced as if two instruments were playing together. An example of this
centuated, in order to bring the
wi^l be found in

sehr scharf betont werden,

um

dadurch den Gesang her

vorzuheben; es entsteht dadurch getoissermassen ein zwei-

stimmiges Spiel (a due

voci.)

Dasselbe ist der Fall z.B.

N?

4.

im Adagio N?

4.

6.

363.

-&-

jj

" xr -o

oR

; =

^ ^ <* = U

^h

--

"

y*

o
1

PP<f>PP

,^^m

Allegro vivace. M.M. J

144

4
1009J

$r$r$r$ g ~^ "1
4

>a r#-A r-y-^ a-: rA r*

r*-> ^=r,

.-

r +-

105
ff-K Cf-K ff-K Cfi

/>

,4

/>

/>

A
.

f"r A f"~* f"

~A

iXlrJ' cJrtjrJ

l^r

cy EJ

iXJ tff LJJ

10092

106

A
Exercise in

major.
Tonguing by articulating
the

A-dur.
Hebung fr
di-cke." Beide

Double

die

Doppelzunge durch die Artikulation

"Du-ke." Each of these two syllables must be given very evenly and clearly, in order that this method of Tonguing

sounds

may resemble

as far as

possible

(am Gaumen) mssen sehr gleichmassig und scharf artikuliert werden, damit diese Doppelzunge dem einfachen Staccato
gnzlich gleich komme.

Silben, soivohl die erste als' die zweite

the ordinary staccato.

364.

u. 331
pp^f=~pp

o 3r o "

<\

<e-

43-

SL .

f^Su: ^

^^-e- _ -o-

-- il

v^:-

ii

Allegro. M.M.J =

i2o.

Vr
J
du-ke,du-ke di-ckedi-cke

"
stmpre staccato.

C&frjr

ri freEf

intl'.ri

107

frtm ^m'

mW ftm&

100 92

108

F# minor.
Exercise
tic Scale.

Fis -moll.
notes of the Chroma-

in the

Shake on

all

Eine kurze
Tonleiter

Triller-

Uebung der ganzen Chromatischen

8.
365,

i
PP<.f>VP

"tt

fcs

<&* -o^-

fefe^^:

Ai.^.

^.

^ D tl J^ " O !e

4*-e^ rn

Allegro. m.m.J ;iie

-

tt

"

Mj
^

mf

^ Mi T^^ iM
i

'-

'

ijL^M

^r r^fii
^~5^
'
I

r r

^
'

P 3E rr LT

#V"^ g*fa T Lffr

**^

^>-^

f *^Lirf
"-

|;

J^
'

'

m
*5~~

mm

^-I

^W
|

^~fl
I

^""^

*?^~t-

-l^j

--Hi

V^rrf

Hin

HLljr
<tr'

-g SS
*5 r>^

.pry^n^

_,

*v g^.fst FFTJl ll,^B

~ "^-

rW.&|3]jJ,T3J|B.

-m

jv^

M
C#

ll

f% f%r#f f^rf%f%^
*

^ii

^^

rr ^^

'

>

'

Lag

>

|_M
10092

fitj

r*^ r"

r^PTrr n^fitr r r^ffr/ "-^?^ ^Hlr rrp^f^ ^?fff r

it

^^" ^
'

109

u m

T V =e T
J5

eeE= S
J ^ li'U
5^,EE:E-
i.

:5^|E

ft

S*
*fe.

l^

ti-

*** .-

#*-*-

:E^^=iEiStei^l

k^rE

^-BTO^f
-

-r irrr
i

^gf Hfff

^
f

,^-f

/#

^
tr

*-

Tr

##

*>">

**_
r.

WJ.H73J

*rf *S}

^gfW^ ^^g^fe^^

10092
.fr-

?&

^-^
y
j

F
?

1r

~
ff

ji

*=^?

<J^

^*

110
.

E major.
in the

E-dur.
Bezweckt die Deutlichkeit
bei geschwinden Passagen.
in

For acquiring clearness

execution of rapid Chro-

chromatischen - Tonleitern

matic Passages.

366

9.

-o-

a=S^

o "

*> *

= = ^^a^ ^v ^^= ^-^~ ~

^^-Q...

P-o- cr

g-n -o-

" o

--

PP<f>VP

loo

ill

p^g^g^l^^llgl

liiyB il
l

10092

112

CH minor.
For acquiring certainty
in

Cis-moll.
Eine Uebung
erlangen.

passages of <V4 time.

um

in de?n

Fnfvierteltakt Sicherheit zu

10.
367.

9 o U.^to" v

^ ^;

TT oj

MK^=^f^^o ^"""Pn v

"q q -e=n
-

jg V " o o V

ff||tt

'-J

UuJii

jjjj

ir^rrrr

^[if ntlTfrrrfrfcj'^

[^rTOMHicMr^MEf
*4

rfrfrrr

irnwf

^rrf ffrf ir-rrr rf if rig g

i*r c rffff

^P^ifrr, rffW ff|%

10083

ill in

^ u
m

ffftfrf ff
i

ffg^rrjrfgr^ftri^ fc^jf

r r ri

*V%\\\<?S? ^
U H
fo

-^ rrrk g h h hh>
B
v-

espressione

^^

^L-

-^L-

^^ v^
J,

v<L

> ^_
s

M^
-~-^

v^BT^ s
*

^L

J
i

*,/

>/

i.J, ,Jy

i^ y ^ /vi.:' v/ w '^' ~^i^#y gg

i

fe

'pi
^.

h hh h
.rr~

P*
,-"
I

Z*m* ^ h V?&
*
-I.

$m
#

,
,

~~.

>

^,

h^"

-r~_

^J

u a
*
#
TiT

>-.

g''fr (ff g v -. ^ X J? *& ^3= *== 5g v*

Pv

-.
[}
Q-

'' ^i
.

P-

.?

F./ir
r-\m
j,
,ifa

& gw
1

m /

mm
*

V*

* ^bfa!

mzsm. *-

5S
*t

S rtr^i^?:.
r*'rvrr
,

&^

** V'tJlUW
ps

=-i

^T-^v
. H

^#
ss
^

JYii^f^i^nfiWj
r
i

r-a-r *># w f * V'^**:

mm

#
P-

-*-*;

*^^-

crcircca
f

*& ir'Hi'rnir ^iUP pr

1

j^^^r ^j^rj^^
i

*^'i,

^^
*

5S=

r* = ^g?
* .^
,

ii

r jj

10092

114

B
Exercise
time.
in

major.

H-dur.
Uebung der verschiedenen Bindungen im schnellen Tempo.

various kinds of legato phrasing, in quick

0^m
Uiti'.r-i

115

'

jP ^ffi Jflg
l l

rrr'rriEdfl-

Wi^

g tfF

"^ flf;

10092

116
Gl

minor.

Gis-moll.
Ist eine ganz eigene Uebung fr die Zunge welche nur durch die Artikulation"ta-ra" ausgefhrt werden kann, und von grossem Fortheil ist, indem die gewhnliche, ein fache Zunge bei etwas langen Passagen in dieser Art der Figuren zu leicht ermdet.

ly

Special Exercise in the kind of Tonguing which canonbe executed by the articulation of the sounds "ta-ra'.'
J

or "tu-du

tage, since the ordinary Single

fatiguing in

This method will be found of great advanTonguing becomes too Passages of length.

#s x i='fells

Pointed Tongueing.

Allegretto, m.m.

J--02.

ta-ra

ta

ra

tu-du tu

du

ta-ra tu-du

ta-ra tu-du

ta-ra tu-du

ta

ra

tu

du

pm
intgr
i

rffttfr

$i% tf

%trfh
g
i

#Mj
j
10092

hn r r

j pd

117

cresc.

10092

118

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

Fis-dur.
Hebung im Neunachteltakt. Eier muss man ganz
sehen, dass aus

besonders

make

will be hurried

Triplets out of the eighth-notes; otherwise,the piece and the Passages fail in clearness.

den Achteln keine Triolen gemacht werdarauf Eilen und die Folge davon ist Undeutein sonst entsteht den, Passagen. den lich keit in

13.

Allegretto. m.mJtss

^VwIJflfff Tff
i

iWP
i

im

ff

ni

'

.^.ifljff fT'f ?
l

mf
f
'
-

'

fW

^^f^ m

Jf

'

% jj^gtei
i

10092

119

.^.ggigte

^vfl jjflto

i^f

^ l

^
fW

y^

w^\ M
te*
\\
r

tefe*te

ffrp n jrr

rr

cresc.

dim.

10092

130

D# minor.
Exercise for the use of all-the Keys:
it

Dis-moll.
can also be

Hebung fr

alle

Klappen, auch kann man dieselbe ab-

played with Double Tonguing.

wechselnd mit der Doppelzunge blasen.

^aggllfggsfe^

10092

131

An

J^^ ^ii^J^ ^^ J^^Jg ^

i

jffl

jffjsiffift
x#V*##*x

< '"V

>gfe

10092

122
D!>

major.
Ist eine

Des-dur.
Uebung fr Vorschlge. Diese mssen sehr kurz
denn die Vorschlge
selbst

Exercise in the appoggiatura or Grace -Note; these must be made very short, in order to give particular prominence to the principal notes. The appoggiatura is merely an accessory note,
heard.

an

die

Hauptnote herangeschliffen werden, damit solche ganz

bezwecken

besonders hervorsticht,

which must, however, be

quite plainly

nur eine Art begleitende Stimme, welche jedoch immer sehr deutlich zu hren sein muss.

Allegro, m.m. ^=100.

ipw f

r
yfe^.t.*.*

iL- -itititt^^P-ff-T

"-f

"-

r 'r T. *-f

*?

*-T *-f
i

*f

*-

J r -f

V- P^t-

10092

123

^m

r *r

,.r

*f *

J>

*.f

jf

f fff *f *f *f *f fofr

= ^ ^jfj'f ^

^^^^
+
#f

Jif

j>.f

^r^T

^^f^f^f^
*-f

^a
*=l
>

|^

kchr
i-

if

r
,*f

tf if Sftftf **$**?

C-i

t*=^ s *
fek

Tf

>

-r

TffJj r

rJ lr ^r p~ -

t *f i^DJNfibr tr
J

f *r ^rJJT *-f >f

*f*Z$'>}{;tf ,tY jf >r^r

^^'^^-H

c^

>

,.
!,

r ".f >f

^ppf

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

,

ife f V+f > ^=3=E||g

ir

^s
m

jr

p Jlt JLr ftfrrf

fcei JTJTfll>

#0

^fep^ifl^QjIg
^>i m= t^ SI
*>

if ,j r f f jffijp^

jffi^feftfr f
.

^ A 4L r^EvizJ
.

^j^fifj-f K/tfj^jf

m^
j
^>

nfiftfjf

rixpHftf^w^f

^trr-Mfon
^ft r 'L f

-f-# . .f

r> ,
j^fjyfcfg-

^yTTT^r ^-r^ 4sw

i

i r ^fJT

^T^Pj^r^f,
^

pl ;sgg
10092

i-

txtfi

^ ^^fTntf^F^
t

124
Bl

minor.
strict attention to

B-moll.
be paid to

Exercise in sustained notes;

crescendo and diminuendo.

Uebung in langgehaltenen Tnen wobei das crescendo und

diminuendo streng zu beobachten

ist.

16.
373.

#
fih

PIT,fe

P ii V^o 3E PP^f>PP

" ^-* -.< iininj^-^-

7-^H?n

-- rr:
I

-<3S

Largo, m.m.

J. = 4*.

#*f

r_r

n^f f-^
i

i^rir

fij

r>ttl

r IIUJ

u.jn-^

ff
i

1i

ftfff

nftfff

f P

J.

l|fc

Fffffiffffrflff
dimin.

YfiWrrfri-

i.'^fffTf
BE'.'

dim in.
*r.

SF-^F? \\ rrf[fjrr

//>

^g|
2T
M=C
er esc.

f Tflfc-j'fl

^gj
^pff^

1009

JJ

d J

fa

'

3E
JT

r==+

125

te

p^
i

J.

rjrri^fif JU S ^^^Jl^vLi
-
h J.

r-

a
je
'

ff

#rmrff
i'iT
/"^-

^irrruJ.i^jTi
cresc.

ts^-

F
b

>^
i

"r

f~fJT
cresc.

dimin.

p dolce.

f^
t

;L I^W'

'iTt rir-r|t-frrii

P dolce.

cresc.

^^?U^^ u.^ Ui i,rVi

ll

rtf|

^J

s
& S

^Mggi^n^ '^wii^^fe^s-ifl^-^i^ &t jif

crescendo.

!=ilsite

-ffffff

^f Ttfffti^f ftgoiift r?v

^

l|

r^n]T

l|

rrr'^F=3?

crescendo.

crescendo

mfc

t p.l

-rn Muii ^r'^rv^frf

2
'

lT">-

^TT"

ypp' i

0m
-p-

p^

j v.TTTjjLLa
i

i i

ai

rVr

<3
1^
^"
crese.

B
y
dimin.

2-

r> f hp^. T r
Fl

f
'

dimin

P dimin.

PP smorz.

10092

126
A|>

major.
Uebung fr

As-dur.
die

Exercise in Triple Tonguing,by the articulation of the sounds keh-tu-keh, tu-keh-tu. In this exercise care must be taken to preserve the most perfect evenness in the articulation of each syllable, just as in

Trippel- Zunge durch die Artikulation

N?

7. All these dif-

Double Tonguing "du-keh',' Pointed Tonguing "ta-ra" and Triple Tonguing "keh-tukeh "tu-keh-tu will be found of immense advantage, especially for those players who are not naturally gifted with a flexible tongue. By means of these staccato Tonguings a good lasting-power is acquired, with a little practice, and the longest pieces can be played without fatigue.
e. g.
J'
J'

ferent Staccato tonguings,

Uebung muss ebenfalls die im Ausdrucke der Silben beobachtet werden, so wie es der Fall war bei N9 7. Alle diese ZungenStaccato's, als z.B. die, Doppel- Zunge di-cke die PunktierteZunge ta-ra und diese Trippel-Zunge di-ke-di ke-di-ke enthalten unendliche Vortheile, und namentlich fr diejenigen die von Xatur aus mit keiner leichtert' Zunge zum Staccato begabt sind; denn vermge dieser Zungen Staccato's kann
di-ke-di ke-di-ke." Bei dieser

strengste Gleich?nssigkeit

man (hat man nur erst einige Uebung darin,) eine grosse Ausdauer erlangen und die lngsten Piecen damit blasen
ohne,

zu ermden.

SS^Sfig
Pi Allegro, m.m. J:ss.

* ^
P
fei*
tu

w m

-3-

-3

3| i

keh - tu di - ke - di
-

keh - tu - keh ke - di - ke

| ^^ccr

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

JB

Ei

ipncrm
Q
,

|,

Fi

^ T
-L
:

3-

:2l_
0-0-m-

J wmm ??P v m * if mim pf r rr ^rff t^T?

'L
\

te s #

*#*

11

r l

T~ 1r

jf|[Crm

^fMCJtf rfrf gfrrrVrrrf*

i

cfCjjgf

irtgj

m^^(^Hfrtif^t&\
\

p$
1009E

tf rf

^.tf f ifffffff rfrrr \t*fwfrtht& ^r*frt&^

1W

>

rr

n rprfr

rf frfh

p qj

^i j $ *&** vr^Hp
r
i

^Vr
4
r

nrTO^j rf^K

ffrcrrft

KwWl^u\\}^\hi
*

j-

ji

S ^ ~

10092

188

minor.
it

F-moll.
Debung in gebundenen Octaven. Auch kann dieselbe Stacnur mit der einfachen Zunge wie

Exercise in legato octaves;

can also be played staccato,

but only with the ordinary Single Tonguing, as in

N?3.

cato geblasen werden; jedoch

bei

N 2.
L.

375.

^^

18.

.. *

o H^ p
i>

^-

*l . /-

v.

" " o

xr

..

pp^/^pp

Allegro. m.m.J
1

= ioo.

jTjTjjtij jatfffrato'ftiiti
*
,r
...

g^ #*wsi =^=*
^

a,

ft rr ,r

't.Ti.f
~

/T/r.T/f rf

kte

(f 't '?

A
&

* *y ws

fr

rnT!?

it*

=f^ rT:T/T, Ar

M?/? :T ft

tj^>

rf/f/f /T/fr 'tiT^r iff T

rr

fr fPT^

fr fr

irT.f '? rf

'p (* / /fr fr rr

^/^/^/>

^ /

,iir

^ /T /r / /r >T /r

#*

tfefeft fefe

& umu%u$
fit
\

^ ^m
47
10092

'?/TlMrr^ri
cJii
'

*^Mcla sp

I7fl

/?'T't^ 4

129

* aMfe jj^aTiajjffajifiTiMfiWi
t: -- m

mrf"~ "

T~l"~

'

^^

i/fcA^ftrpdi^/V

te
&
'

^frr frfofcf(t fr

An
.

r.

BTV Yr T
i

'TA T

'
i

'.T'ffPiffi-

'# fa-ff- Atkfc= ,4

"aJiiru^
iE

fr fc.fr fr fr**.-,

,tWM$$Afrfr,
i

kt a 4

te^i^
r

^T

iTuTEji

u
?s

rrfrfrfrrr-*

mm
(T<Tl^ as
*./'$-

E
a

* i iA^igjjm
f

viiitii oil eJ

fffrfr f/rrr-r/rif5 IJ

a ^w ^Iej Mim
7

/rvc 4 4
clil
/

'

ai

fe

fe^ iy ^

fc

4 i i fr^fr^(fJf ^fr^fr ^' nJv

IPb
ff,

^m
.
.

fr fr

^a
,

35 s

m S ^

jj

( t fr 5EEE

a^ jjiTimui^ff^i^jjjj i" fem J fofff i wf f /% idwcttri f^ a^^^i y

fr/ :s
.
|/r
i

M%?%^ %^ (% %
i

^
\

fe r?

fe

fe

fe*

JP

A>

^M^Mf-frr^ PD PVftfr!Xft
*

ftfrf T ftfrli

<
10092

^%

fe

r# r?

I ft

ft

23

ISO
El>

major.

Es-dur.
Uebung in gebrochenen Accorden, gleichsam dreistimmig,wo
die hchste Deutlichkeit, Accuratesse

Exercise in Arpeggios, or Broken Chords, giving the The greatest clearness, evenness and accuracy must be observed, in order to avoid treating
effect of three parts.

und

Gleichmassigkeit statt

finden muss,

any one of the notes as an appoggiatura in N?8.)

(as

was

the case

auch nicht eine einzige Note als Vorschlag (wie z.B. der Fall bei N? 3 war) zu betrachten.

um

*9
376-

o feHi o " ., n
*

41

'

-fcV

_Q_

^mt^^ltsi

--

o o

&xf>PP

o " o "

Allegro. m.m.J =
;

ii2.

&$$& &&^&$&&^Mt
T^f1
\

^'""

^^Wa&'Attf
f*Wf^

< fT"lfr Z=B

mmm^MM MM
l

* gg

\rr-J

V fy pV fe
-r-p"'

BE

p i
>
,-

p>

fm p/>

'Hp

[JTJtjtzjg

/
!

I --fp.

.'Jfl.-f^ fwr /

.-h,-h S ,lT^,.f\ m z+==*

CS

^
L

l--ri /fi>

rp-fw fa-r-
,

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

mw$ ^$^f^$^
ffi!

'fa'ftw&K^.

&g

10092

1S1

Q, mmmmmxmmmi
crr-.f SI./T.
.4fi.

<?_ fr

ffir

j^fe^gj
frfa.(&(!h.fa<&fafe.fo.

fc/&&

10092

182

C minor.
Exercise in the Turn and the Mordent (passing Shake.) The Tonguing for the middle part of this Exercise is got by the articulation of the sounds "dee-deh'.'
satz

C-moll.

Uebung fr Doppelscklge und Pralltriller. wird mit der di-de" Zunge geblasen.

Der

Mittel-

20.
377

iS

ott ol"

o-

-t*

IE

.^gggglggggW,

IQ. *>

ET gTf

M Q TT
*

^xr:

r,

fr-i

'"f

"

,^rf"

i^^ fi^ff^tgg^^i
i

ffi

,,a

MM g
ir

pr^i^n^irr rr i p^f^f4 kfo fo^&&&i:$+fo& ^jr^ Yn^^ n^irf^^Yi MtSLS M k* ^ tinE W'ywP%^ ^i ^ "^i^P^P^Wll #
>

.h j>h,
,

if

^ rf--r^

m-,

A ^
ff,

jiBi ff

<4-

*.

an

S*'

fe
*i

*SV

- .i

ifi

~Juffi i f v

i\V

*iV
i

IV

*/

10092

^S

133

iH\fU

\rJ$ V n,
\

^%y%

m%myyp4^
^
SSe

mj

J5 --

*_ f'^

tea

5a^5

fclz

p,^ m
^^^Jffll

]t

m
|

^
l

}n pasp
J.

.w^a
U. 'i

^'1,
10092

,Ui ji.,f?^

l-^

n^ ^^5i

184
Bl

major.

B-dur.
Eine Triller-Uebuvg fr lange Noten im langsamen Tempo.

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

81.
378.
?

" o O 3t o V^

f*

fi.^:^:

^=u*

ix

fi- -o-

S,'

-V^-

S_

>

" o

pp^f>&>

Poco Andante. m.m.J = 88.

irJT-^JJ' ijg^TJJ

n^Tu

PS
'

ii

^iXi

te=
cresc.

s
fl

mf

l-T

<

ifj

\ i

^.t

fgy
^j,
*

'iflrl^rpi?^
,?

cresc.

urn^r^u/^
<t

Se\ rp3>
gi

r^T uf

r\j i\Lf r\usjgS

i

de cresc.

P%Uw?^S^ 'jjjj^
^"^

j.1

tu

Tj

^iiKjJ'f^ yq'"^^.'!^

i i

C'ji

^ tfffnTff^
16092

tff^J

135

cresc.

f v2,

vi

^==

f^lS

ti

ff ffF r

yy n%f fa'Vir^
j
|

rJ .ffi

Tft

^^wr

^^in^iLTjjl^i

if

^ r TTi

?
1T.

I'P^T

f
1
1

Ji

^
i

Tu, fr"

ijj

Tjmi

f. B 5JSJJI*S
^-^_ vi,"

rSIH^

~"

.?.

-,

^ .fZ%&M&

.V *

S^
i
~1

^iji
VrStoill

^^ i
#,

*-

10092

136

G minor.
Exercise in the Staccato tonguing explained in

G-tnoll.

N?

5.

Uebung fr den nmlichen Zungenstoss

als in

N? 5

22.
379,
*-Ol -2*: igzsz o o fei y n lt 5=2 PP^f^jP

n^

\^-

^zz

ix

^i \-

33= -

" ? " ^

p f t ikj^ff*

a
v

/7\

* "nBf
-"''

lr

rail.

Moderato.

Allegro, m.m. J=

io4

if

''Dim
-

=/q*

^=*

^3

*>. _

bf9

^>

AA
=t

iffliil
.

loosa

187
A.

MM.

A.

#-

^ykM'Lifl^

==
F
f-9-

S
M

mmmm
3

9-

# t

-7^

il
=#T

**-

j
A r
,.

L& LiL

m
ESS

3
=
1

*-#-

i*
i

z*#*

U BM

1*?f

&

BSSES

-9-

[iclilil[iii Liu"
a ^

#^

-99-

*
'

jlj

L^L^^UJiLmUU

feg^-iV^-gjg^f

/a//, tf*'m.

10092

188

Moderate

#^= :==

= /

ft

j_ ft

J
1 1
1

p"1 p-

A ^.-.--

rr

..

fT
>:t

r
i

^ffT
==4=

c.

ft

ft r /fc
tnf
-

ff

f>-

dim

a
.

#*-

a _

jftA

? f^m?

III;

MFM
*1

jft-i ft-

it,
ft

'

^~m __

ft ft

p_K

;*- ft
:

:.

ft

FT
i

ft--

i ft-

rf - h

BSSS

ft.

'--

-rr-rfr --

fit

j$

it^t,

m
^
/-

itt.

ith ft-

f
3=j

ft-

ft-F
^ft-

>

ft

^pffft f

^> #

ft-

-*T

t-

ft ft

'-ll ft

IS

1-4

3^

**.*

^ft

FF ^- *.

10092

ff r.p

m
' -

*#

3^

*!:
~TW

* ^

Ai.

i.

#^B Mid
M-ft

" r ^-ft ft

ft

--

4L
i

f-

#*-

---

--

-m

wm

ft

L^aeaiffl

/^t-

'

j'

[jyiiifiL
S

*** />ff-- f r^ *c . rf.. rr. rr . p -

wm ^^
*
-ft ft-

3 ^
*_A

#-'

/ -

/>

2
r

{AUuii tim^m
c^-^-^
ft-

mm
-ft

ft-ft.

ft

s~ m.ft-

r/

mmii^ m tM
f
con bravura

M
S

^ ^ r .f-U

-^4L

ijCfffTfcE

=SLj= 35 2

; ft

,^ ff -ri--*r-

100SS

F
In the style of 9

major.

140
F-dur.
Uebung in der Art eines
Concert- Satzes.

Concert Piece

23.

Allegro brillant, m.m.

.-

^JCTffl^jMW
1

rf.

sunore

f .^f BJpJBJ J
>

j J .JUjgJJJ ^Jp
,1
1
.

/ ?,

11

^U^a r-g

10062

10092

142

D
Exercise
in

minor.

D-moll.
Hebung in auf und absteigenden Figures

ascending and descending Figures.

24.
381.

3EI

iPP<f>PP

-o- Tl~

*;. ?

o "'

^^

>

>^

*-

t;*il>.

33=^ ^^ <J O

fc^ ittCQ'gP
'

10092

143
Presto, m.m.
J.-

138

3^

wM&hm^ft^gm
'

Efrvftj:

xid

crr.w.

^J^i$m^0m

^^Uii^'Uu
10092

List of the Principal

With

Words used
Minore Moderato
Molta

in

Modern Music
.

their Abbreviations and Explanations

Metzo-piano (mp)

to, In or at; a tempo, In time Gradually increasing the speed Emphasis on certain parte of the measure Slowly leisurely Adagio Ad libitum Cad libJ At .pleasure: not in strict time To Be played by both instruments A due (a 2). Agitato Restless, with agitation In the style of AI or Alia Alia Marcim .... In the style of a March Diminutive of allegro; moderately fast, lively; Allegretto faster than andante; slower thin allegro Lively; brisk, rapid. Allegro Allegro assai .... Very rapidly

Moderately soft
Moderately. Allegro moderato, moderately fast

Accelerando Accent

(accel.).

Minor Key
Mnch; very

No

Mbrendo Mosto Mbto

Sy^S W. Equivalent to

rapid. Piu mos so, quicker. Motion. Con moto, with animation

Notation
Obbligata

Not The art of representing musical sounds by means of written characters

An

Opus (Op.)
Ossia

A
.

indispensable part

Amoroto Andante Andantino

Affectionately

work. Or; or else. Generally indicating an

easier

Anima, con Animato

j )

In moderately slow time Diminutive o fandantes strictly slower than an(Luae but often used the reverse sense With animation
,

method

piacere.
. .

Appassionato. Arpeggio Assai

.

At pleasure equivalent to ad libitum .Impassioned A Broken chord Very; Allegro assai, very rapidly
:
;

.To be played an octave higher Pause (/T\) .... The sign indicating a pause or rest Perdendoti Py"> ^7 gradually At pleasure Piacere, a .Very softly Pianissimo (jap)
Qttava (*a).
.
.

Piano Pi

(p)

...
. .

.Softly

More
.

Pi Allegro
I

Attaeea '.'.'.'.'. .Attack or Begin what To Howe without pausing Barcarolle A Venetian boatman song Twice, repeat the passage Bit bold; spirited Bravura Brilliant; iant Brillante Showy, sparkling, brliai Brio, con With much spirif Coden* An elaborate, florid passage introduced as an embellishment Cantabile In a singing style Cantons tt short song or air Capriccio a ... .At pleasure, ad libitum, Catalina 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 supplemental the end of a composition With Col or eon Crescendo (erete.) Swelling; increasing In loudness From Da or dal Da Capo (D. C.) .From the beginning Dal Segno (D.S.). .From the sign DecrescendofdecrescJBeeTeaing in strength Diminuendo (dim.). Gradually softer Divisi Divided, each part to be played by a separate Instrument Dolce (dot.) .Softly; sweetly Doleissimo Very sweetly and softly Dominant. .... The fifth tone in the major or minor scale Duet or Duo .... A composition for two performers

Pi tosto Poeo orunpoeo. .A^tttle .Gradually, by degrees; Poco a pc poco. faster le fas' A little Poeo piu )iu mosto
. . .
.

.More quickly Quicker

little

by

little

Poco meno Poeo piu Poi

A A

little slower little faster

^^

Prestissimo .... As quickly as possible Presto ........ Very quioi: faster than Allegro The first ?rimo JlW). A piece of music for four performers. luariet Aa ff in the style of U. for five perA piece of music fo tintet. formers Rallentando (rail .) Gradually slower Repetition. Sen%a replica, without Replica repeats
. ;

Pomposo

Then; afterwards Pompous; grand

.With special emphasi*. Rinformando, Ritardando (rit.) Gradually slower and slower
.
.

Ritoluto Ritenuto Sehernando. Seeondo (249)

.

. .

Resolutely; bold; energetic In slower time .Playfully; sportively .The second singer, instrumentalist or

Segue.

Sempliee

Sfortando

(/).

on in similar style Simply; unaffectedly Without. Senta sordino without mute .Forcibly; with sudden emphasis
Follow low

And

Elegante Energie o
. . .

Enharmonic
Etpretsivo

Elegant, graceful rously .Alike in pitcu, _ different in notation With expression

Simile or St mili. .In like manner Smarsando (smon) Diminishing in sound. Equivalent to

With energy

Morendo

Solo

Sordino
Sostenuto Sotto

vtnale fine
Forte Cf) forte -piano (fp)
. .

The conoludinjr movement The end Loud

.
.

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

A mute.

fortissimo (ff). forsando(ff=~)

forta

fuoeo,eon
Giocto
Oiutto Orandioso Grave Oranioso

Accent strongly, diminishing instantly to piano .Very loud .Indicates that a note or chord is to be strongly accented Force of tone

With

fire; with spirit Joyously-, playfully Exact; in strict time

Harmony

Key

note
. .

Largamente Larghetto
Largo
Legato. Ledger-line
. .

Grand; pompous; majestio Very slow and solemn Gracefully In general, a combination of tones, or chords, producing music The first degree of the scale, the tonio .Very broad in style Slow, but not so slow as Largo; nearly like Andantino Broad and slow; the slowest tempo-mark
Smoothly, the nvene of staccato A small added line above or below the
staff

tone Spirit, eon Spirito with spirit Spirito Staccato Detached; separate Stentando Dragging or retarding the tempo Stretto or stretta. .An increase of speed. Piu ttretto faster Subdominant .The fourth tone in the diatonic scale Syncopation .... Change of accent from a strong stroi beat to a wea.k o; Taeet /is "Is silent" Signified signified that an instrument Sr vocal part, so marked, is omitted uring the movement or number In question. Tempo Movement; rate of speed. Tempo primo .Return to the original tempo. * Tenuto (tend ' the full value. .Sld Thema or Theme . .The subject or melody. Tonic The key-note of any soale. Tranquillo Quietly. Tremolando, Tremolo A tremulous fluotation of tone. Trio A piece of music for three performers. Triplet A group of three notes to be performed In the time of two of equal value In the regular rhythm. Troppo Too; too much Allegro ma non troppo,
. . .

<

Lento Eistesso tempo.

Loco

Ma

Slow, between Andante and Largo In the same time, (or tempo) Ln place. Play as written, no longer, an octave higher or lower

an n.
,

tti
.
.

Una eorda
Variations
Veloee Vibrato

But
\

% Maggiore
Marcato

a n tr0pp0 ae sX.o

1 U 0h :fe^e /t'ic%?aig nifTe d Major Key

"

Meno Meno mosto

Messo

Marked
LeSB
.
. .

.Less quickly Half; moderately

Fivaee Vivo Volti Subito F.S.

.

not too quickly. All) all the Instruments. A, one, an. On one string. The transformation of a melody by means of uurmonio. rhythmic and melodfo changes and gmbe lliahmen ts ulo _,, rap*. _. wavering tone-effeot, which should be imnrintr' sparingly used. .With vivacity; bright; spirited .Lively;, spirited. Turn over quickly.

5H S- 5 jUag ^Sco >=== Q o C/>^ z^S^^uS^=X

Q.
in

^^2 LU ^

= a ==

--i

^^C/3

Ol

O
o

>-

CD <fi LU _i^^=o ^ i-=

3s^=<

CO cr i-

F.

INC

ISBN 0-8258-01 95-8