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1905

MUSI

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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. POPP

English 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, inc.

62 COOPER SQUARE. NEW YORK 10003

0505
 94

H. Soussmann's Celebrated Studies.

Die berühmten Etüden von H.Soussmann.
Revised by Paul de Ville.

C major. C-dur.

Exercise for the legato playing of two notes. Great
care must be taken to keep the two notes exactly equal,
and not to make the first one too short.
it) The Scales which precede each Exercise must be
be practised carefully, slowly at first, with gradually
increasing speed.
Hebung für das egale Binden von zwei Noten, ohne die
erste alsVorschlag zu nehmen und sie dadurch in ihrem
Werthe zu kürzen. Us muss demnach die genaueste Egal-
ität beobachtet werden.
*") Die jeder Uebung vorangestellten Tonleitern sind vor-
her sorgfältig zuerst langsam und dann-schnell zu üben.

1.
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Allegro, m.m. J=i2o.

'i^mmM

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

 95

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1092
 96
A minor. A-moll.
Exercise in Single Tonguing, by articulating the sound Uebung für die einfache Zunge, durch die Artikulation
"Tu In this kind of tonguing the tongue must lie quite „tu'.'Bei dieser Art Staccato muss die Zunge stets frei im
loose in the mouth without touching the palate other-
; Muride gehalten und durchaus nicht an den Gaumen ge -
wise the articulation is weakened and instead of "Tu'the bracht werden, da der Stoss dadurch weinh, und die Ar-
sound Du is produced, which in this exercise would tikulation „du" entsteht, welches bei dieser Uebung nicht
be wrong. statt finden darf

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10092
 »8
G major. G-dur.

Exercise for rapid chromatic passages and arpeggios. Hebung für schnelle chromatische Läufer und gebrochene,
The small notes must be played very rapidly, in order Accorde. Die kleinen Noten müssen an die Hauptnote gleich-
that the principal notes may not lose more of their val- sam herangeschnellt werden, damit dieselbe nicht zuviel von

ue than is absolutely necessary. The divisions may be ihrem Werthe verliert. Bei willkürlicher Wiederholung
repeated from the Double Bars (II) at pleasure; they kann man bei einer jeden Abtheilung der beiden Striche
should be played f (forte) the first time, jp(piano) the (II ) einmal forte, das andere Mal piano blasen, um in
second, in order to acquire clearness and certainty in beiden Fällen die gehörige Deutlichkeit und Sicherheit
both styles. zu erlangen.

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10092
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10092
 100
E minor. E-moll.
This Exercise must be played with great feeling and Muss ausdrucksvoll und mit grö'sste Genauigkeit vorge-
attention to detail. tragen iverden.

4. .Ol^-O..

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10093
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 D major. D-dur.
The staccato in this Exercise is quite different from Das Staccato in dieser Uebung weipht von dem in X?2.
that in N? 2. Hold the tip of the tongue between the gänzlich ab. Man halte die Zunge spitz zwischen den
teeth, letting it touch the lips; then draw the tongue Zähnen an den Lippen, und ziehe sie schnell, aber stets
quickly back, still keeping it pointed. By this means wieder zurück so wird dadurch ein
spitz gehalten, sehr
a very pronounced staccato will be obtained. scharfes Staccato entstehen.

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 104

B minor. H-moll.
The notes marked thus A must be very strongly ac- Diejenigen Noten die mit A bezeichnet sind, müssen
centuated, in order to bring theMelody into proruin - sehr scharf betont werden, um dadurch den Gesang her -

ence; by this means an Effect is produced as if two vorzuheben; es entsteht dadurch getoissermassen ein zwei-
instruments were playing together. An example of this stimmiges Spiel (a due voci.) Dasselbe ist der Fall z.B.
wi^l be found in N? 4. im Adagio N? 4.

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10092
 106
A major. A-dur.
Exercise in Double Tonguing by articulating the Hebung für die Doppelzunge durch die Artikulation
sounds "Du-ke." Each of these two syllables must be „di-cke." Beide Silben, soivohl die erste als' die zweite
(am
given very evenly and clearly, in order that this me- Gaumen) müssen sehr gleichmassig und scharf artikuliert
thod of Tonguing may resemble as far as possible werden, damit diese Doppelzunge dem einfachen Staccato
the ordinary staccato. gänzlich gleich komme.

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di-ckedi-cke

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 107

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100 92
 108

F# minor. Fis -moll.

Exercise in the Shake on all notes of the Chroma- Eine kurze Triller- Uebung der ganzen Chromatischen
tic Scale. Tonleiter

8.
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10092
 110
. E major. E-dur.

For acquiring clearness in the execution of rapid Chro- Bezweckt die Deutlichkeit in chromatischen - Tonleitern
matic Passages. bei geschwinden Passagen.

9.
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10092
 112

CH minor. Cis-moll.

For acquiring certainty in passages of <V4 time. Eine Uebung um in de?n Fünfvierteltakt Sicherheit zu
erlangen.

10.

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10092
 114
B major. H-dur.

Exercise in various kinds of legato phrasing, in quick Uebung der verschiedenen Bindungen im schnellen Tempo.
time.

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10092
 116

Gl» minor. Gis-moll.

Special Exercise in the kind of Tonguing which canon- Ist eine ganz eigene Uebung für die Zunge welche nur
ly be executed by the articulation of the sounds "ta-ra'.' durch die Artikulation"ta-ra" ausgeführt werden kann,
or "tu-du J This method will be found of great advan- und von grossem Fortheil ist, indem die gewöhnliche, ein -
tage, since the ordinary Single Tonguing becomes too fache Zunge bei etwas langen Passagen in dieser Art der
fatiguing in Passages of length. Figuren zu leicht ermüdet.

#s x £i='fells

Pointed Tongueing.
Allegretto, m.m. J--02.

«ta-ra ta - ra ta-ra ta-ra ta-ra ta - ra

tu-du tu - du tu-du tu-du tu-du tu - du

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10092
 117

cresc.

10092
 118
F$ major. Fis-dur.

Exercise in 9/8 time. Special care must be taken not to Hebung im Neunachteltakt. Eier muss man ganz besonders

make Triplets out of the eighth-notes; otherwise,the piece darauf sehen, dass aus den Achteln keine Triolen gemacht wer-
will be hurried and the Passages fail in clearness. den, sonst entsteht ein Eilen und die Folge davon ist Undeut-
lich keit in den Passagen.

13.

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10092
 119

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10092
 130

D# minor. Dis-moll.

Exercise for the use of all-the Keys: it can also be Hebung für alle Klappen, auch kann man dieselbe ab-

played with Double Tonguing. wechselnd mit der Doppelzunge blasen.

^aggllfggsfe^ .

10092
 131

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10092
 122

D!> major. Des-dur.

Exercise in the appoggiatura or Grace -Note; these must Ist eine Uebung für Vorschläge. Diese müssen sehr kurz
be made very short, in order to give particular prominence an die Hauptnote herangeschliffen werden, damit solche ganz
to the principal notes. The appoggiatura is merely an ac- besonders hervorsticht, denn die Vorschläge selbst bezwecken

cessory note, which must, however, be quite plainly nur eine Art begleitende Stimme, welche jedoch immer sehr
heard. deutlich zu hören sein muss.

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10092
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10092
 124
Bl» minor. B-moll.
Exercise in sustained notes; strict attention to be paid to Uebung in langgehaltenen Tönen wobei das crescendo und
crescendo and diminuendo. diminuendo streng zu beobachten ist.

16.

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10092
 126
A|> major. As-dur.

Exercise in Triple Tonguing,by the articulation of the Uebung für die Trippel- Zunge durch die Artikulation
sounds keh-tu-keh, tu-keh-tu. In this exercise care must „ di-ke-di ke-di-ke." Bei dieser Uebung muss ebenfalls die
be taken to preserve the most perfect evenness in the ar- strengste Gleich?nässigkeit im Ausdrucke der Silben beobach-
ticulation of each syllable, just as in N? 7. All these dif- tet werden, so wie es der Fall war bei N9 7. Alle diese Zungen-

ferent Staccato tonguings, Double Tonguing "du-keh','

e. g. Staccato's, als z.B. die, Doppel- Zunge di-cke die Punktierte-
Pointed Tonguing "ta-ra" and Triple Tonguing "keh-tu- Zunge ta-ra und diese Trippel-Zunge di-ke-di ke-di-ke ent-
keh "tu-keh-tu will be found of immense advantage, es-
J' J'
halten unendliche Vortheile, und namentlich für diejenigen
pecially for those players who are not naturally gifted die von Xatur aus mit keiner leichtert' Zunge zum Staccato
with a flexible tongue. By means of these staccato begabt sind; denn vermöge dieser Zungen Staccato's kann
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little practice, and the longest pieces can be played Ausdauer erlangen und die längsten Piecen damit blasen
without fatigue. ohne, zu ermüden.

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 188
F minor. F-moll.

Exercise in legato octaves; it can also be played staccato, Debung in gebundenen Octaven. Auch kann dieselbe Stac-
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 ISO
El> major. Es-dur.

Exercise in Arpeggios, or Broken Chords, giving the Uebung in gebrochenen Accorden, gleichsam dreistimmig,wo
The greatest clearness, evenness and
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 182
C minor. C-moll.

Exercise in the Turn and the Mordent (passing Shake.) Uebung für Doppelsckläge und Pralltriller. Der Mittel-
The Tonguing for the middle part of this Exercise is got by satz wird mit der „di-de" Zunge geblasen.
the articulation of the sounds "dee-deh'.'

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Bl» major. B-dur.
Exercise in the Shake on long- notes in slow time. Eine Triller-Uebuvg für lange Noten im langsamen Tempo.

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G minor. G-tnoll.

Exercise in the Staccato tonguing explained in N? 5. Uebung für den nämlichen Zungenstoss als in N? 5

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F major. F-dur.
In the style of 9 Concert Piece Uebung in der Art eines Concert- Satzes.

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D minor. D-moll.
Exercise in ascending and descending Figures. Hebung in auf und absteigenden Figures

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 List of the Principal Words used in Modern Music
With their Abbreviations and Explanations
A to, In or at; a tempo, In time Metzo-piano (mp) . Moderately soft
Accelerando Gradually increasing the speed
(accel.). Minore Minor Key
Accent Emphasis on certain parte of the measure Moderato Moderately. Allegro moderato, mod-
Adagio Slowly leisurely erately fast
Ad libitum Cad libJ At .pleasure: not in strict time
. Molta Mnch; very
A due (a 2). To Be played by both instruments
. . . . Mbrendo Sy^S »W. j „,
Agitato Restless, with agitation Mosto Equivalent to rapid. Piu mos so, quicker.
AI or Alia In the style of Mbto Motion. Con moto, with animation
Alia Marcim .... In the style of a March No« Not
Allegretto Diminutive of allegro; moderately fast, lively; Notation The art of representing musical sounds
faster than andante; slower thin allegro by means of written characters
Allegro Lively; brisk, rapid. Obbligata An indispensable part
Allegro assai .... Very rapidly Opus (Op.) A work.
Amoroto Affectionately Ossia Or; or else. Generally indicating an
Andante In moderately slow time easier method
Andantino Diminutive o fandantes strictly slower than an- Qttava (*«a). .To be played an octave higher
. .

(Luae but often used

, m
the reverse sense Pause (/T\) .... The sign indicating a pause or rest
Anima, con j . . . . With animation Perdendoti Py">£ »^»7 gradually
Animato ) Piacere, a At pleasure
A piacere. At pleasure equivalent to ad libitum
: Pianissimo (jap) .Very softly .

Appassionato. . . .Impassioned Piano (p) ... . .Softly

Arpeggio A Broken chord Piü More
Assai Very; Allegro assai, very rapidly Piü Allegro . . . .More quickly
Piü tosto Quicker
Attaeea '.'.'.'.'. .Attack or Begin what To Howe without pausing
. ; Poeo orunpoeo. .A^tttle
Barcarolle A Venetian boatman» song Poco a pc
poco. I.Gradually, by degrees; . . little by little
Bit Twice, repeat the passage Poeo piu
)iu mosto A little faster
le fas' . .

Bravura Brilliant; bold; spirited Poco meno A little slower

Brillante Showy, sparkling, brüliai iant Poeo piu A little faster
Brio, con With much spirif Poi Then; afterwards
Coden* An elaborate, florid passage introduced Pomposo Pompous; grand
as an embellishment Prestissimo .... As quickly as possible
Cantabile In a singing style Presto ........ Very quioi: faster than Allegro
Cantons tt short song or air A ?rimo JlW). The first
Capriccio a ... .At pleasure, ad libitum, luariet A piece of music for four performers.
Catalina An air, shorter and simpler than the aria U. Aa ff in the style of
. ;

and in one division, without Da Capo tintet. A piece of music fo for five per-
Chord The harmony of three or more tones of formers
different pitch produced simultaneously Rallentando (rail .) Gradually slower
Coda
Col or eon
A supplemental the end of a composition
With
^^ Replica Repetition. Sen%a replica, without
repeats
Crescendo (erete.) Swelling; increasing In loudness
. . Rinformando, .With special emphasi*.. .

Da or dal From Ritardando (rit.) Gradually slower and slower

Da Capo (D. C.) .From the beginning . Ritoluto Resolutely; bold; energetic
Dal Segno (D.S.). .From the sign Ritenuto In slower time
DecrescendofdecrescJBeeTeaing in strength Sehernando. . . . .Playfully; sportively
Diminuendo (dim.). Gradually softer Seeondo (249) . . .The second singer, instrumentalist or
Divisi Divided, each part to be played by a sep-
arate Instrument Segue. on in similar style
low
Follow
Dolce (dot.) .Softly; sweetly
. . . Sempliee Simply; unaffectedly
Doleissimo Very sweetly and softly Without. Senta sordino without mute
Dominant. .... The fifth tone in the major or minor scale
. Sfortando (»/). . .Forcibly; with sudden emphasis
Duet or Duo .... A composition for two performers Simile or St mili. .In like manner
E And Smarsando (smon) Diminishing in sound. Equivalent to
Elegante Elegant, graceful Morendo
Energie o With energy rously Solo For one performer only. Soli; for all
Enharmonic . . . .Alike in pitcu, _ different in notation Sordino A mute. Con sordino, with the mute
Etpretsivo With expression Sostenuto Sustained; prolonged.
vtnale The conoludinjr movement Sotto Below; under. Sotto voce, in a subdued
fine The end tone
Forte Cf) Loud Spirito Spirit, eon Spirito with spirit
forte -piano (fp) . .Accent strongly, diminishing instantly to Staccato Detached; separate
piano Stentando Dragging or retarding the tempo
fortissimo (ff). . .Very loud Stretto or stretta. .An increase of speed. Piu ttretto faster
forsando(ff=~) . .Indicates that a note or chord is to be Subdominant .The fourth tone in the diatonic scale
. . .

strongly accented Syncopation .... Change of accent from a strong stroi beat
forta Force of tone _ to a wea.k o;
fuoeo,eon With fire; with spirit Taeet /is signified that an instrument
"Is silent" Signified
Giocöto Joyously-, playfully
Oiutto Exact; in strict time Sr vocal part, so marked, is omitted
uring the movement or number In question.
Orandioso Grand; pompous; majestio Tempo Movement; rate of speed.
Grave Very slow and solemn Tempo primo .Return to the original tempo.
. .

Oranioso Gracefully Tenuto (tend • *

- .S«ld ' the full value.
•
Harmony In general, a combination of tones, or Thema or Theme . .The subject or melody.
„
Key note
chords, producing music
The first degree of the scale, the tonio
Tonic
Tranquillo
The key-note of any soale.
Quietly.
Largamente . . . .Very broad in style Tremolando, Tremolo A tremulous fluotation of tone.
Larghetto Slow, but not so slow as Largo; nearly Trio A piece of music for three performers.
Largo
like Andantino
Broad and slow; the slowest tempo-mark
Triplet A group of three notes to be performed
In the time of two of equal value In the
Legato. . . Smoothly, the nvene of staccato regular rhythm.
Ledger-line A small added line above or below the Troppo Too; too much Allegro ma non troppo, <
staff not too quickly.
Lento Slow, between Andante and Largo tti All) all the Instruments.
an
,

Eistesso tempo. . . In the same time, (or tempo) n. . . A, one, an.

Loco Ln place. Play as written, no longer, an Una eorda On one string.
octave higher or lower Variations The transformation of a melody by means
Ma But of uurmonio. rhythmic and melodfo changes
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Maggiore Major Key Vibrato A
wavering tone-effeot, which should be
Marcato Marked imnrintr'—
sparingly used.
Meno LeSB Fivaee . . . .With vivacity; bright; spirited
Meno mosto . . . .Less quickly Vivo .Lively;, spirited.
Messo Half; moderately •
Volti Subito F.S. .Turn over quickly.
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