Universal method for the saxophone.. by Paul de Ville, , C. Fischer edition, in English. Universal Method for the saxophone by Paul de Ville. The largest and most complete method ever written for saxophone. Based upon the celebrated works of A. Universal Method by Paul de Ville - FREE DOWNLOAD. I posted this as a to the pdf file; osakeya.info osakeya.info
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Universal Method for Saxophone by Paul de Ville - Ebook download as PDF File .pdf), Text File .txt) or read book online. Universal Method for Saxophone by. [PDF] DOWNLOAD Universal Method for Saxophone by Paul DeVille [PDF] DOWNLOAD Universal Method for Saxophone Epub [PDF]. The Universal Method for the. Saxophone. By PAUL DE. VILLE. HE Saxophone was invented about the year , by Adolph Antoine. Joseph Sax. He was the.
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Be the first to like this. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Book details Author: Paul DeVille Pages: Dover Publications Inc. English ISBN Description this book Please continue to the next pagenone https: Originally Posted by dresq. Because copyrights can't be renewed forever though Disney keeps getting Congress to extend the duration so that the copyrights on Mickey Mouse don't expire.
Anything with an original copyright date of or earlier is now in the public domain. It will be one of the last to ever expire.
Uh, is that for Eb or Bb sax? I can't tell. I did even more research after posting It still makes sense for companies like Carl Fischer to print copies of it because being such a large book, it really does cost about as much to print it at home as it would cost to download the book Some interesting stuff in there.
The tag is still on the inside cover. Kind of worn now - I took private lessons out of it for 6 years, until I asked my tutor how to make subtones like Boots Randolph and he threw me out forever. Guess that's why I'm a chemist and he still is in the symphony. I am not an instrument repair technician. I am a skilled but amateur sax hacker.
Take all advice with two grains of salt, please. Bookmarks Bookmarks Digg del. All times are GMT. The time now is All rights reserved.
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 and mellow in any of the registers, low, medium or high.
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. 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 substantial 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. 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 are 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.
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 are 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.
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. 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 tbe 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?
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.
Wasting of the breath. Spluttering with the tongue. Direct breathing with the chest. Uncertainty of tonguing, i. Nodding with the head, which disturbs tonguing. Loud, audible breathing when one or more sounds are being blown.
Swaying motions of the body, especially of the arms, which interferes with the fingering. Beating time with the foot; in short, whatever interferes with exact and easy execution agreeable presence, good position of the body, etc.
Gradually increasing the speed Accent Emphasis on certain parts of the measure Adagio. Slowly leisurely Ad libitum ad lib. In the style of a March Allegretto Diminutive of allegro; moderately fast, lively; faster than andante: Lively; brisk, rapid.
Allegro assai Diminutive of andante; strictly slower than an dante, but often used in the reverse sense Anima, con t. At pleasure; equivalent to ad libitum Appassionato. 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. At pleasure, ad libitum Cavatina An air, shorter a.
From the beginning Dal Segno D. From the sign Decrescendo decresc. 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 Accent strongly, diminishing instantly to piano Fortissimo ff.
Broad and slow; the slowest tempo-mark Legato Smoothly, the reverse of staccato Ledger-line. A small added line above or below the staff Lento 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. Majestically; dignified Maggiore. Marked Meno Less Meno mosso. A little. Gradually, by degrees; little by little Mezzo-piano mp.
Equivalent to rapid. Piu mosso, quicker. Moto ,. Con moto, with animation Now. Not Notation. The art of representing musical sounds by means of written characters Gbbligata An indispensable part Opua Op. A work.
Or; or else. Generally indicating an easier method Ottava gv a. To be played an. The sign indicating a pause or rest. Perdendosi Dying away gradually Piacere, a At pleasure Pianissimo pv.
Very softly Piano p. Softly Piu More Piu Allegro. More quickly Piu tosto Poco or un poco. Poco a poco. Poco piu mosso. As quickly as possible Presto Very quick; faster than Allegro.
Primo ino. The first Quartet.
A pjece of music for four performers. Senza replica, without repeats Rinforzando. With special emphasis Ritardando rit. The second singer, instrumentalist or part Segue Fpllow on in similar style Semplice Simply;- unaffectedly Senza Without. Senza sordino without mute Sfurzando CsfJ. Forcibly; with sudden emphasis Simile orSimili. In like manner Smorzando smorz Diminishing in sound.
Equivalent to Jfortndo Solo. For one perfo mer only. Soli; for all Sordino A mute. Con t 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.
Tempo primo. Return to the original tempo, Tenuto ten. Held for the full value. Thema or Theme. The subject or melody. Tonic The key-note of any scale. Tranquillo Quietly. Trtmolando, 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 trovvo, not too quickly. Tutti All; all the instruments. Una corda On one string. Variatione The transformation of a melody by means of harmonic, rhythmic and melodic changes and embellishments.
Veloce Quick, rapid, swiff. A wavering tone-effect, which should be sparingly used. Vivace With vivacity; bright; spirited. Lively; spirited. Volti Subito V. Turn over quickly. 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 The thin end of reed can be shaped with a sharp pair of scissors or a reed-cutter. 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 The signs, which indicate pitch and duration of a musical sound, are called Notes figured thus: They are named after seven letters of the alphabet; C.
For this instrument, only the treble or G clef cond line. J The names of the notes on the five lines are - called the Stave, the names of is used, which is placed on the se -: D G 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. The latter three kinds may alsoc be written in combination thus: Eighth notes; Sixteenth notes; Thirtyseccnd notes. One line r 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: This is called a Repeat.
Sextuplets are marked by a 6 being placed over a group of six notes. 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: 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. 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 ate named: 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.
The number of sharps employed in a scale depends upon which note the scale is founded. The sharps succeed each other in the following order: Thus it will be seen that if one sharp is employed it must be prefixed to F consequently all F's in that piece must be raised half a tone.
When two sharps are employed all F's and Cs must be raised, and when three sharps are employed all F's, C's and G's must be raised and so on. Names of the Keys: The flats succeed each other in the following order: The same rule concerning signatures as with sharps is to be observed here.