A class method for teaching B flat clarinet tomeet individual differences among students

Item Type text; Thesis-Reproduction (electronic)

Authors Webb, Lamont Kay, 1925-

Publisher The University of Arizona.

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A CLASS METHOD FOR TEACHING B FLAT CLARINET TO MEET INDIVIDUAL DIFFERENCES

AMONG STUDENTS

byLament X* Webb

A thesis submitted to the faculty of the Department of Music Education

in partial fulfillment of the requirements for the degree of

in the Graduate College, University of ArizonaMASTER OF ARTS

1952

Approved:late

' TABLE OP OOKIEKTS ' ■

CHAPTER ' . ■■ . . ' . ' ; ' : . - ; mCE!».. dctroduqtioh..:«, . ' . , . ,v>; < ;

•; 'Statement of the problem. 1' : Importance -of the" study . . . . s <>'. . .v.: -1.

Limit at ion of the problem . ... . v . i . V . . » > 31 .. . \ Method of research. . . . ' i . .. . . . «, 2

: XT*j,--: nsi[- of: toBvLiTERiT^ i.:.,. ■ : .x. . i . .• o • .it ’Literature @a individual differences ih general

education ». . . . . D - ..... 4' ; Literature on individual differences in the field of

". : _ " mUeiC .... ; ♦ ... • •. 4 t ;0 *.••** » . • . . . . ' . . . e o - © ^

; > " . • Attempts to provide for .individual differehees in - , : -/ beginning instrumental methods . . . . . . « . ... 8

Conclusions -. « * . * ..■ « ® . . . . « . . . . ■. © © ^: • CRITERIA FOR DlTERMIHING .APPROACHs SEgJENCBi?' 800# . © : T;,!!::

Approach. © ♦ • *♦ *«* . . ® . . ... . © . © © « . . . © ®.. 11- - Philosophy © » . . © . © © © « © © © © © © © © © © © ©f 11

Principles and techniques of class instruction © © = 12: ' Approach of methods analyzed © © © © © © . ©> © © . © c© . 18

Sequence of .technical problems© © © © © © © » © © « © >• 19-. Sequence of notes and fingerings © ©©©©•© © © . = 1 9

Sequence of meters » ©■ © © ..= ©• © © © © * ♦ • =, © © ; 23 •. 7 Sequence of note and rest values > ©' © © © « © '© © © 23

CHiPISR . : ■ ' - /PAGE

I I I . CRITERIA FOB DETSRMIRim AIRR04CH^ SEQOEHCE, SCORE, C o a t 'd .

' SC Ope' o'® © o . e » ; 6. . o o . e o - o ® - ® ® «.. ' ® ® ® ® '.® ■ e ® ® ® . -"-, 3

C o n s lu s io n s ® ® ® ® ® - ® ® • ® ® ® ■.® ® * ° ® . ® ® - ® » ® 2 fS

■ ■ I?o A CLASSS METHOD . FOR TEACHING B ELAT CLARINET TO MEET :

: V v: . 1 ^ AMCro^SOHXpTS. ». . o o' . , ® o:%4 28

. © ® . » » e ». » <?; © © ©; © » » » « © - * © © 28

General prpGeawea for teaoking this. : . ;\ “ , D10thO& : @ 0> O © ® » © & © . o © ©. © © o o © © © © • - ® © 29summBY m p im:ommiDATiom© © * . ^ . © © . - © ©., ,© ©; 83

- .- © o e © » © © © © © o '©:©, © © © © © © © © © © g 83'

, 1©cornniP2id.Q.t3,011s © © © © © ©- © ■ © © © « >© © © *©.©©©.© © - 82i®

. JBX ILiXOQHi PHY© ®< */ c> ’ © © p: ® © » ® ® ©, * . «■ © © » » » » © © © © © 85

LIST OF TABLES

t&ble ; . .. ■ : /■ ;:v v-/-lo Sequence of Notes and Fingerings Introduced in Seven.

; Beginning, Instrumental Books « * = »• « » » « <> »IX©- Sequence, dt.Meters -a',.« »-• •.• •» o •. » > -» > • 0 e: eIII® Sequence of Note and Best Values « . » « ® ® «; • » ®:

BSOS

o 2lj.

« 25

Statement of the problemc. The problem involved in, this study waSi -

to eonstruet a class method for learning to play the B flat clarinetwhieh wou32d meet the needs of students with -rarying abilities* The " /.> method was to be eonstraeted in such a way that the individual differ- enees. of the students would be met and that adequate musical growth ,necessary to play the instrument would be provided»

Importance of the study» Individual achievement and-recognition :

are generally accepted as being neees'sary 'for the proper mental health : of students& Many students discontinue their instrumental training be­cause of the absence of these conditions. The fast learning student ; may also lose.interest in music if he is not allowed to progress at his :

own tempo* V This discouragement emong beginning students is unnecessary ;

and should be reduced®' Students, should be provided with a curriculum

or a method book which will meet the needs of their varying abilities®

The material should be presented in such a way that it will have meaning to all of the students® The majority of method books now being used

fail to meet all of these needs® In this study an attempt was made to

construct a method which would meet these needs*

/ , limitation of the problem® • The wide range of differences; among •

students, had to,be narrowed in order to make effective use of the class period and to permit suitable ensemble playing. This method provided, in general $ material for:three leyels of ability. The method was -

eonstraeted for use in teaehing beginning students who have reached the

fourth or fifth grad® in eehool» In eonstruet ing this method the as-

sumption was made that the pupils will not have had any previous, wind

instrument training*. Previous participation in the general music class

is essential in order to receive the maximum benefits of this methods Many of the melodies used were those that have been learned in the @ar«- lier grades* The possession of adequatee .knowledge a by the students® of

basic fundamentals of music was not assumed* All new concepts were in­troduced through the medium of a familiar song® The playing range of

low "E® to !fG0 above the staff was covered in the material presented for

the highest level of ability® The range from low '"S” to ®G-ii! above the staff was used for the medium group® The range of low G-18 to t8B' flat® on the third line of the staff was presented for the slow group® The following meters were introduced$ two four, four-four6 three-four, cut

time, six-eight®. The note values from the whole note to the sixteenth

were covered® ' .

Method of research*., A review of the literature concerning indivi­dual differences was made for the purpose of determining the existence

and present status of the problem® The philosophy and psychology of learning of leading authorities was reviewed and used as criteria for the approach that was used in the method® Several currently used method books were analysed for their possible aid in determining the approach,

sequence of technical problems, and scope of this method® In instances ;

where there appeared discrepancies between the method books and the philosophy and psychology of learning, the principles of the latter were

followed#

CHmOSR II

; ' ' . % ; ' ; ' imiss m SHE Ill'EERM'm , ,

&Iai%r authorities: have written of the problem of individual dif- % ferencess and there have Been some organized .efforts- to provide for . them^ partienlariy in the primary grades® Some of the important studies

which are elosely related' to the problem at hand will be reviewed in ^

this ;:oia6pter6 " - v,:.; \ ' : . \ . " ' v . : ; ‘

. = - Literature on individual differences in general edacation«, A '[ review of the treatment of individual differences in the field of education may provide some understanding of the problems faced by music

educators® ■ • -- - ' ’' V ' ' . . -Our present graded system came about largely from the necessity

of group instruction due:to the democratic ideal of extending educational

advantages to all of the people® it first its rigids restricted, and

"uniform nature had made schools blind to the necessity of recognizing

and providing for individual differences® Later on the disadvantages;

of the graded system became apparent and various schemes were devised to improve the system and to provide for these differences in ability®

Some of these earlier schemes provided for more frequent promo­tions usually twice a year,. The very exceptional child very often would be double promoted and the very poor student would be failed® This plans of course, was. inadequate and in many eases actually multiplied •

the problems of instruction* The exceptional child might be double

promoted into an older age group:with different social interests and

needs than himself« He might, not have a sufficient background to em— 33e him to; do •well In the advanced class® On the other hand, the poor ..student who fails has his problems increased® ; His confidence in himself

and his interest in school is apt to diminish®Probably the most recent attempts to provide for individual dif-.

ferenees in the classroom are the plans that provide for ability group--

ing and the adjustment of the individuals® These plans are used more

often in the first three grades, than in the others and'especially in

the reading period® . , ; ‘ ■ . .Since its appearahce in the public schools, ability grouping has •

been a" subject of controversy® Ei made a Critical study of ability grouping to determine the actual effect upon the pupil by analyzing the

various experiments which have been conducted on ability grouping® He

concluded that , 66 •/ ®. •* ability grouping, if carried out under good

conditions, would yield beneficial effects bn the pupil, and that those

experiments which show inepnsistent results were, in every case seienti- ' fically inadequate®” Ei also made a study: of the arguments for and against ability grouping® He arrived at the following conclusions*

Pei fu-Ei, A Critical- Study of Group Instruction In American ^hools, p®; I36® V - . / . - . .

6o o. ». ability grouping is not disliked in general by teachersa pupils $, superintendents and scholars in educations, is not undemo » cratio.'; not necessarily characterized by educational determinisms? not handicapping the development of the whole child8 not unscien­tific in its belief in the consistency within an individuals not . necessarily characterized by uniformity8 not necessarily having the danger of producing undesirable social effects0 and not without justification in using the results of mental and achieve­ment tests as a basis for classification,^

In the schools that use the ability grouping plan the classes are

usually divided into three ability levels. This fails to create per­fect homogeneity, but it reduces the differences of ability to a more

2narrow range. Marion Monroe gives some suggestions to follow in .

ability grouping® She recommends that the seating be scattered and that

the three different groups be divided as they are needed for certain

learning experiences® Membership in any one group should be flexible®Praise should be awarded for growth and improvement rather than for

excelling a elasamateoA teacher who gives generous praise to a child for doing his best and who compares his work of today with his own work of yesterdays rather than with the work of classmates» will bring about the best growth of each individual*?

Literature on Individual differences in the field of music. Oarl

Seashore- " made a survey of musical talent in the public schools of low®

and verified the existence and the magnitude of individual differences*

hoe, cit*, ■ . '

^Marioa Mbhrbe.•.growing Into -Reading.' p*. 22$*

%oc* cite, ' :

^Oarl E. Seashore, Survey of Musical Talent In the Public Schools. P® "2 „ ;

7His survey indieated that a person may be quite high in one particular kind of talent such as pitch discrimination and might be low in another

such as rhythm oThe problem of individual differences which occurs in class instruc­

tion was pointed out by Noimann-oAs a student gains in power and skill the limitations imposed

upon him by the group tend to become ever more restricting^ He demands and requires greater individual attention to his peculiar problems ® ♦ ♦ In the early stages of learning,,- difficulties are

■ largely the same for each individual member of the class® Mvane" ing, howevers at widely varying rates of speeds the problems once . common to all become increasingly the difficulties requiring indi­vidual ministration. Olass instructions if it is to function with more advanced students9 must take on ever.more noticeably the characteristics of the individual lesson®Kwalwasser was concerned with the existence of individual differ­

ences in the general music class and conducted.a study to determine where the greatest differences existed* between the sexes or within . each sex® He found that the differences within each sex were much

greater.We find* for example0 that sixth grade boys earn an average

score of 176o2G on the Kwalwasser-Dykema Music Tests. Girls of the sixth grade earn an. average score of 177«80 °n the same tests. Significant though this difference in score is 3 it cannot compare with the wide variation in test scores earned, let us say, by 90 percent of the sixth grade population® The norms tell us that the upper 5 percent of the sixth grade earn a score of 150 or lower®A difference of 5° points separates the upper and lower 5 percent of the sixth grade®. The average boy, however, is only 1®60 points behind the average girl® The difference between the sexes shrink into significance when compared with the greater differences, showing variation within the group® ® @ ' We must substitute thehomogeneous grouping for the heterogeneous grouping which now

^Theodore F® Efozmann, .Instrumental Music In The Public Schools, p ® ljj.6® - -

impedes nmsieal progress» We toast reeognize individual differ- eaeee if wa a%"e :t6- promote'toasiGal';progress ;

■ The above study.- xfidieaies. that- musical organizations should he . divided in order to provide for individual differenoes and the.basis : for the division should he ability, not sex.. ;

Attempts to provide for individual differences in beginning in-

strumehtal methods» Of the swen currently used method books analyzed $

only two mde any attempt to provide for individual differences® Both of the method books were constructed for use with mixed instruments® ; However, both methods could be used for class instruction on similar instruments® : ,

The author of the Belwln Elementary Band Method^ recognized that because of individual differences some players would have range diffi-

. eulties. These difficulties are provided for by writing many of the

exercises, and melodies-.in ©etayes®, ;. The players having trouble with the ' notes in either octave are; to play the easier line of notes, in class

while working on the other octave outside of class® This method is not adequate for providing for differences in ability in that it doesn’t make allowances for other technical problems that are encountered in

instrumental music® , .The Hew Way Method for Band and Orchestral was designed for use in

l3"acob l#alwasser. Problems in Public School Music, p®. Ii9»

%red Weber, Belwin Slemenfarv Band Method, po- 9°

■ If* A®-. Storers.-The Hew Way Method for Band and Orchestra, p®, 2®,

ensembles? composed of players with varied degrees of advancement e Be- ginnefs without any previous musical training may play with advanced students; in the very first lesson. She method may also he used for teaching all beginners -in one class» toe material is divided usually . into eight lines with some of the lines containing two parts, toe ' lines are arranged according to difficulty with the easier, parts, at the

top and the more difficult odes at the bottom of the page. This method. book.would be useful in a situation where s because of necessity, pupils: with previous instrumental training are required id be in the same. .class with less advanced:students;and beginners. Howevert the method ; book would not. be too safisfaefory for use in a class composed entirely.

of beginners. The numerous divisions of the parts would be confusing to the beginner from the standpoint of eye span and coordination. The . scope of the method is not extensive enough, toe material is not pre*? , sented in a: progressive, order so that the learning of the beginner may

be closely guided and conditioned. Time would not perait sufficient ex­planation of the problems contained in each part if ; all of. the parts were used concurrently in a beginning class,

Doncluslonso From the material presented in this chapter, the

following eonclusions were drawn; ...Musical organisations should be

■divided in order to provide for individual differencesj the basis for

the division should be abilityi the division of a class: into three. .

ability levels provides a workable classroom situation; membership in ..• =

. any one group should be fiexible; variations in ability become more ap­

parent as the students progress| present method books are inadequate in •

providing for .indi'widual differeBees-,

\ CRITERIA FOR DETEHlENING APPROAOS, SEgjM GE8 SCOPE .

One of the objectives of this method was to eonstruet a method book in such a way that adequate musieal growth necessary to play the clarinet - would be provided. The material presented must be meaningful if musical growth is to occur* In order to present material in a mean” ingful way, criteria for determining the approach, sequence of techni­cal problems, and scope needed to be established^ The philosophy and

psychology of class instruction as accepted by leading authorities was

reviewed. Seven currently used method books were analyzed for their possible usefullness in determining the approach, sequence, and scope®

?The data obtained from the study and analysis of the above sources will ; be discussed in this chapter and observed in the construction of the

methods :-' ■ :

; : ■ ■ ' A®, APPROACH ;

/.' Philosophy. The proper position of the teacher in regards to pur­

pose and philosophy of teaching should be taken into consideration in determining the approach of a method® Many educators have pointed out the necessity and value of building new experiences upon previous ex­periences $ yet most of the present class method books in music overlook or at least fail to capitalize/ on this basic principle. Lamopeaux and

lee have stated that, Experience is the only tool with which we can

12interpret anythingMost authorities in the field of music' agree with the faet that understanding is a necessary component of musicianship^The ■ relationship between eDcperiene'e: and understanding, and the position ■

of the. inusie teacher'':is stated hy Murphy» ®The clarification of exper­ience that leads to understanding is the primary function of the teacher not the development of techniques*56 The above quotation leads to the

; problem of how music teachers are:to bring about understandings The ■ •principles and t#ech$iigues of class instruction that'bring about:under­standing are discussed in the following section® :

' Principles and techniques Of Class Instruction* Murphy suggest® the appfoaoh td use in the teaching of music» « the most effectiveappfoach to the understanding of music is through the organized.study of music itself .'*3 Music educators in' general accept the idea of

analysing .familiar music or of using an observation song as a means of v understanding music and music notation®. The approach observes the prin­ciple of giving factual knowledge only when needed to explain a given

situation® According to Murphy^7 this is one of the major fallacies in

the cormentional method of teaching fudiments prior to musical exper­

ience* Many meaningle ss facts must be learned before there is any need

", - Lillian A® famoreaux and Boris May Lee i learning To' Read Through Experience, p».121. m '' . . •

-' Howard A® Murphy® Teaching Musicianship® p®. 9<* . , - ‘i . ;

' 3lbld*:9 p* 12®. ; ' y ' '

: - 4ibid*a 20 ", . ■ : , v ' . ' . '

13for them® ‘’This eonoept of 8 felt need8 aroused by curiosity about musicheard is basic? 'axid will revolutionise teaching procedures; from the

lowest to the highest levels®ie ' / v; ■ v ' ..Mother authority9 parsells was concerned with this-principle of

teaching and has listed three considerations that should be used as aguide in the mastery of the various musical techniques®

a®. Every skill, mental or motor, should be learned for the sake of its expressive use® Its educational value resides precisely in its use, rather than in its acquisition or possession® What it means is that we must be concerned to provide organ!?,ed opportuni- - ties to use the skills that we teach® The acquisition of any ele­ment, of technique should mean a cdtiscious, immediate increase on the part of the learner in command of the resources of musical ex­pression and enjoyment® -b® All technical skills are acquired best and most rapidly in connection with musical problems and not through schemes of formal’ drills®, ® ® . .e®. The teaching of the various techniques should be associated closely with growth in musical insight® »

Instrumental music teachers should make use of the principle of... analysing familiar music as a means of understanding music and music notation® The use of such a technique would be valuable in helping the pupils to bridge more effectively the gap from the known sound of fam­

iliar melodies to the unknown printed symbols which represent these melodies® This principle implies that all rudiments, and in the. ease

of instrumentalists 9 fingeringsg may and should be taught through the medium of a familiar song® This technique would involve the singing

loo® cit®. ■: ' 2 : ; 1 ; v: - V ; ' ; '' -James 1® Mursell, ^Principles of Ifcislc Education," Thirty-fifth

Yearbook, Part II8 p® 8-9« - . . ‘ ' •

and analyzing of a familiar song and reacting to the pulse, rhythm,, and notational symbols of the musie» Such a procedure may be used to ex­plain staff , clef#,, note valuese notation of pitch, time signatures,

rhythmic -figures9 etc* In additions the instrumentalist must transfer

the musical experiences gained through learning the song to the instru­ment in terms of fingering and:embouchufe» Because of the mechanical

difficulties iwolTed (in the actual playing of the instrument $ beginning , songs must be simple and have a limited rangei ; . • . ■

, This song analysis method also employs the newer educational idea of beginning with the whole and going from the whole to its parts«

The idea of going from, the.whole to its parts and of; making use of

known material is being used very successfully in the teaching of language

reading® language reading has problems similar to music reading. In language reading, like in imsie reading, printed symbols must convey to the reader certain sounds and thoughts.

The present method of introducing rudiments and bits of notation before a complete song, and of not showing an immediate need for the in- foraation might be compared with the old approach to the teaching of

language reading. First the students were required to learn the letters, their sequence in the alphabet, and their sounds. From this

they progressed to .syllables9 -phonetic word families, words9 phrases,

sentences, and finally stories®- ;; ■ - , - ’The above procedure is no . longer used by progressive teachers;

The present approach is to begin with the experiences: and ideas of the

children.. These experiences may be common past experiences or a new

experience in the form of:an excursion which the ehildren and teacher plaru W e ehildren decide what they want to say about these experiences . .and the teacher transcribes the story on the blackboard. The children ; : :

then read the story that they already know. Following this the teachertransfers the stories to two charts3 ealled experience charts, Qn& of \ ".. 1

the charts is to be:used for cutting"into sentences and phrases, After reading the complete story ; the children-anateh and read the cut sentences . with the ones in- the 'other,chart,. The story is feconstructed in this ;manner first by-sentences then with phrases® This particular technique employed in going from the whole to its parts- might be used. ad-rantageously for analyzing familiar songs for instmmental teaching*;

The first two.concepts learned from analyzing a familiar song'are how pitch and rhythm are; notated on paper, . The notation of pitch is! the ,easier to grasp. The %igh and low" of melody.can easily be related to the "np and down" symbols on the page. . The problem becomes more com~ . plex as the student progresses into interval relationships between

pitchess and pitch alterations. Besides the notation of pitch; the

instrumental beginner has the problem of relating the pitches with the \required f ingering and producing the tone*. For this reason® to intros ;duce notes and fingerings through a. familiar song that the student al­ready knows is effective. ' The name and fingering of the printed symbol . - 'will be associated more closely with a particular tone that the student : '' f

desires to hear in playing these familiar songs, The student should be -. .

provided with ample material to use any new notes and fingerings that he : '

Hamoreaux and lee9 op* eit*s p * 125* ' . " •

learns so; that this assoeiation will become autcmatie®- The ability to interpret and reproduce rhythm from the printed

symbols is. a more •. eomplex prbblem and more difficult for the sthdents to master® Professional musieians have had many years of 'experience playing all kinds of rhythms and can analyze these rhythms automatically®. To them the prints# symbols that represent rhythm are very concrete and

; actually look like they sound® This probably e^lains why most pro­fessional musicians deem it logical to introduce rhythm through a

mathematical explanation® But9 to a beginner the -problem is abstract® i, whole note doesn’t look any longer than'a half ‘note» and a dotted eighth note doesn61 look like it bccuple# three parts of a divided beat® The problem becomes more difficult when the student is introduced to several different time signatures and temper®. The instrumentalist also has the problem of coordinating his fingers and tongue with his mental interpretation of the symbols®

- :. Most authorities agree that the best approach to teaching the

meaning of rhythmic symbols is to have the students first react to the phrase rhythm and beat or pulse with large physical movements such as| .

walking* running* pausing,, skipping* clapping* swaying® Children must know and feel what is being represented by the printed symbols if the notation is to have any meaning® Concerning the introduction of rhythm Mursell says $ :.: v ' ' • -

Certainly nO instrumental medium can be considered ideal for the first contact with rhythm® The ideal medium is song, because mechanical difficulties are slight, and because free physical movement is possible during the act of singing® S mechanical

instrument„,howeverg is - by no .means a harrier to rhythmic action® Every instrument through which a musical personality can directly express a musical thought ‘requires rhythmic action in its opera­tion, Instead of creating rhythm with the body as a whole$ instead of perfectly free movement g we have rhythm sensed in a bowing am, in fingers and wristsg and so forth* Instrumental technique is

: really rhythmic action limited to certain kinds of moviement. deter­mined by the mechanics of the instrument. Hence we should not ex-

■ peet to.teach rhythm in terms of action that must by definition be : ■ limited,"*' ' / -

According to Ifcrsell then we should have some sort of instrumental playing readiness program by which the child may come in. contact with

and react to different rhythms® The general music class may provide this background with singing, physical response i and even simple melody

instruments. It would still be .worthwhile, however, to include a cer­tain amount of this activity in the beginning instrumental class as the

situation may pemit, / . -Mother, way of getting the students to feel and get an understand­

ing of a musical rhythm is by connecting it with words. Words have a natural rhythm of their own. Words like ••merrily" and ehumpty dumpty"

might be used very well to put across a rhythmic figure or complete sentences might be used in connection with phrases, •

Counting of course should still have its place in teaching rhythm providing that it is introduced after the students have had these other

experiences. The necessity to be able to count will arise.as the

students progress into more complex music and musical'arrangements such as used by; large ensembles, bands, and orchestras. Probably the prin­cipal danger of counting is that it emphasises the mathematical rather than the rhythmic aspect Of the beat, also, the number of counts a.

James? Mnrsell, The Psychology of Bchool MIuslc Teaching, p®. 192®

;.certain kind of note gets and its aetual duration in ■ time is not con-staht exeept within a partieular time signature and tempo« This tendsto eonfuse the beginner® MArsell has stated the proper use of counting

in teaching rhythmt : : : ;-■ -■' --' . » e e eounting should be used as a means$ never as ah end» It, can help to set tip the form of response s the muscular feel thatwe want. Built actually impedes rhythmic development when the child is led to think of certain notes eoming on certain counted :

; beats .rather than on a certain pulse of effort.. «•>. .We may use ;the ability to edunt as- an index of'vpreeise grasp of the beat. ■ While counting will not - necesshrilysta^ a,"real ,serisii -. of

V the beat,.the.ihability to count as: one plays is a sure sign that• the beat is not being properly. s e n s e d . ' v : '

Other basic -principles of instruction that should be observed are*(1) to plan each lesson so that some definite aeeomplislrment is made?(2) to allow the students'to begin music making on their instruments

as soon as possible | (3 ) to present • a minimum of /problems at any one time so as not to overtax the pupil's span of attention and retentions' (4) to keep the materials generally well within;the students ability.

Approach of methods analyzed. Of the seven method books analyzed

three were written for private Or class instruction on the clarinet and four were primarily for use in teaching mixed instrument classes= .The

approach- of the clarinet methods was generally, more - technical than the mixed instrument methods5 more technical problems and information were presented before and between the inclusion of melodies. .The melodies; used in the clarinet methods usually contained problems and material previously .infroduceda However9 all of .the problems introduced were

not provided with a melody to show their musical' use# There was not al­

ways a close association between the problem introduced and the melody which contained the problem®

The mixed instrument methods contained many familiar melodies; that followed closely and made tise of the problems introduced® Some of the melodies were composed to make use of a particular problem® Written explanations were fewer in the preface of the mixed instrument method books than in the clarinet methods® :

The majority of the methods introduced problems with bits of nota­tion or exercises before using them in a melody® However, in one methods all problems were introduced through the arrangement of a familiar melody into many different parts® All of the method books explained rhythm . •

mathematically or left it up to the teacher to explain. Many of the methods used melodies to illustrate four-four meter that actually have a feeling of duple meter® Ensemble material was found in all the methods®

. B® SEQUENCE OF TECHNICAL PROBLEMS

Sequence of notes and fingerings. The sequence of notes and fin­

gerings introduced in the seven method books analyzed is shown in TABLE I on the following pages. The following data was noted in examining the table® Common patterns of note introduction are evident. However, there is no consistency in the note to note sequence. The range of

middle C to second space A is the first to be presented in all the methods® The majority of the methods then present the remaining notes of the lower register of the clarinet. Some of the methods include all of the chro­

matic fingerings of the lower register. The next general area of notes

introdueed is the upper register from G above the staff down to B on the third line» The fezteiniaag notes presented in the methods .do not ■ appear in any eaamoh pattern® > The note most often used for the start­ing note was E» Method G provided for different degrees of advancement

/ throu#iout the books' therefore * the sequence of notes that a beginner would come in oontaet. with was estimated® ::

21TABLE I

SEQPENCE OF NOTES AND FINGERINGS INTRODUCED IN SEVEN BEGINNING INSTRUMENTAL BOOKS

Method Sequence

■O— Q

WWWWB

-o g$

ZZ ± 3 Z

JSS7"

45"

5E ZZZ3S: 3 Szi * w ( W

3£ jfaE-e-

_s_UrTT^— Q-C _^P- -5e

22

TABLE I (continued)SEQUENCE OF NOTED AND FINGERINGS INTRODUCED

IN SEVEN BEGINNING INSTRUMENTAL BOOKS

Method Sequence

A la. , U S i-e-

±B1 ’vya3£q.-=t.

W

p j a AB

±2: ■#C-

r 1 0"

i s£ =#zz

7&

j ^ A - ... 3 g 3E5

E II0/

O - g- V + ^ -iv-Q- rS: Ajq.

362Z:

feie

-e-_________ jg- ^ 2_

w

w

p -yo^dcrzr

jp =

majority of methods which were analyzed agree on the sequence of meter introduction® Idl of the methods start with quadruple meter® The major­ity of methods then present triple meter, duple meters and compound duple® All of the methods present several different rhythmic figures that occur

in each meter® .. . „ j

Sequenee of note and rest values® Four of the methods Introduce the whole note and rest f irst and then proceed; to introduce shorter note and rest values® The other three begin with a quarter note and then 'present longer note values® They then proceed to present;shorter note and rest Values®. The exact sequence is shown in TABLE III on page 25®. '

v ; - i •' v 0 ». SGGFE. ; , 1 '

The three clarinet methods included most of the range of the clar­

inet § from E below the staff to E above the staff® One method included notes and fingerings up to the highest G-® The mixed instrument method#

presented notes and fingerings from E below the staff to high 0 above

the staff® One method included D above the staff® All of the methods

presented four-four, common, 0 , cut-time, three-fopr, two-four8 and six-eight tame signatures® In addition, two of the methods presented two-two's. three-eight, nine-eights and twelve-eight time® Mote values

from the whole note to the sixteenth were introduced in all methods®

Best values from the whole rest to the eighth were also included® The

majority of the methods introduced keys up to three sharps and flats®

; Some of the methods included the relative minor keys® The methods were

1234i7891011121314151617181920212223242526272829

TABLE IISEQJJENCE OF METERS

METHODB D E

2/4

3/4

6/8

4/4

t 4/4 * c 4/4 » 4/4 >: : C t

3/4 * 3/4 i *C :

* 3/4 t 3/4 ': 0 I t2/4,C,3&: 1 X

t 2/4 X X:: : 2/4 x

X X;

3/8 i 2/4ttt

X X X X X X

X X$XX

6/8 % C

X X

X X X X

x 6/8 X X•

X 6/8 x xXX

C x x.X X

XXX

X X X Xx C :

9/8,12/8t s$ i 13/8,6/8 t

4/4c3/42/4

6/8

TABLE IIISEQUENCE OF NOTE AND REST VALUES

Method Sequence1 1 - T ' 2 3 3 3 6 9 13 21 30

A o d J e d. / J. . y . . / z

1 1 1 1 2 3 4 11 12 13 26 36B J J 3 o d. J7 r J. r Z

1 1 2 2 6 12 13 19 23 26 36C J I J d. J7 r J. / J? o

1 1 1 1 1 3 3 9 13 16 20 21D O J J 2 d. J7 J, y •P z

1 1 3 3 6 6 7 24 23 27 29 29E o d c l 2 J / „ r „ . ; £1 1 2 2 3 3 3 9 9 10 22 26

FV 2 J 0 d. / J. z

1 i 1 1 i 1 4 4 6 7 6 14G 0 d ; d y d. z J?NOTE: Numbers above the note or rest values indicate the lesson in which introduced.

about equal in their eove3?age of musical terns.. Most of the methods had f studies using ©hromatiess, intervals9 tfipletSs. and; syneopationo

G0HCHJS10ES; i . -

The following conclusions were made from the data presented in this' chapter« M l sediments and technical problems should be. taught through

the analysis of a familiar song. The learning procedure should be from the whole song to its parts. The-functional approach should be used in

introducing rhythm; such as having the students react to the phrase rhythm and beat or pulse with large physical movements. : Ehythmieal words , andcounting may be used as aids in teaching the interpretation of rhythmic symbols. The approach of the methods analyzed was not always consistent with the philosophy and psychology of the outstanding music educators men­tioned in this chapter.

The general pattern of note introduction should be in the following orders middle C to second space 4; remaining notes of the lower register of the clarinet; Upper register from third line B to G above the staff;

remaining notes up to high G above the staff. The note most often used

for the starting note was E on the first line. All of the methods started with quadruple meter. Howevers in using the functional approach to rhythm*.a duple meter would be more satisfactory for the first meter introduced. The first note value presented should be the beat note of the duple meter; such as the quarter note in two-four time. The.remain­

ing note and rest values should be explained as they occur in each.parti­cular selection studied. .

' ■ V : ■ - . . ; . aHie notes and fingerings from E 'below the staff to high C above the

staff was the range covered in most of the beginning methods<» The fol­lowing time signatures should be presenteds two-four, four-four. Common, Cut time, three-four, and six-eight«. Hote values from the whole note to the sixteenth and.their corresponding rest values should be used and ex­

plained* The major keys up to three sharps and flats should be used<>The selections used should be such that the students will have experience in . playing and will gain an understanding of the f ollowing concept si chromatics, intervals, triplets, and syncopation®

GMPIER I?

-A GLASS HETHOD FOR IEAGHBIG B FLAT CLARIIISO?TO MEET i mmDUAL DIEFEREMGES AMONG .

; STQBBMTS ;

. Intro duet ion <■ The purpose of this method item to . preaeai suitable

Biusieal material in, sueh a way that adequate mhaieal growth necessary to •

play the clarinet would be provided and that the needs of students with varying abilities wmld be met o - • : ; ;

In this method most of the melodies presented for instrumental play­ing are preceded by the song with the words. These songs are to be used

for singing and analyzing, Borne of the songs will need to be pitched in a different key when singing® Most of the songs were chosen, from material that is usually presented to the students in grades; two through, four in their general music period® So attempt was made to elassify the songs: into lessons or units» The material experieneed each day will depend upon the particular group and the: instructor® The songs are presented: in a progressive order according to the stage of development of the class®

The method begins with at three note tune • which mey be, played in unison.by the whole class® The teacher should observe the difficulties

and abilities of the students in playing the tune and then classify the

members into two groups according to ability® The following three tunes:

provide for two levels of ability® After analyzing and playing °Wind in

the Trees", the class should be re-classified into three ability levels» ;

The remainder of the tunes in the method provide, in generals for three ' '

ability levels*. .Part A is for the rapid learners. Part..B is for the : meditra group* Part 0 is; for the slower learners* Membership in each

group should be flexible,/'' v'. ' .vAll rudiments and teehnioal problems should be taught through the

analysis of the selection being presented- The learning procedure should

be from the whole song to its parts« ; The functional approach should be used in teaching rhythmic notation. ' • ,

: r - general procedures for teaching the songs in this method. .

' lo- Have students sing the song (with .piano, aecompanime nt if; possible):■ 2« Help students to interpret the mood of the song®

3 »- Help students to recognise phrases; their similarities and" their: y differences*. - ' ' . . . '

Have pupils notice and show the general contour of the melodic : ' phrases. \ ' .

•5* Explanations of rudiments r and technical problems should take. ■' X place when the students discover a need for learning them., 6.; Have students zeact to the pulse and duration patterns in rhythm

with large physical movements.^s. Explain to the students the notational representations of their :

:y movements = . ' - ■ ; ■ ’: . S.. Give the students ample, experience in playing the selections on '

. their instrumentso iX / 9 * All new concepts and notes for which fingerings must be learned

are listed as they dceur in each selection. A few •suggestions .: ::' r that might be useful in teaching a part icular seleetion are . . ;

: provided. . ' ..v.,. . V . '. , ■ ■' ' . 1 ^ ;■■ 10®. All new fingerings should.be demonstrated by the teacher and

each student should be provided with a fingering chart to use for reference. ■ \ . • '■ - /v

30Square Dance Tune

tcT"— »-0—L-+— ^— — ar

Cat-fish, cat-fish, goin' up stream. Cat-fish, cat-fish,

±

1ez

where you been? Grabb’d that cat-fish by the snout,

3 — — J. ... . . J ^Pulled that cat-fish wrong-side out

Notes and fingeringsE (first line)D (below staff)C (middle)

SuggestionsA useful technique for teaching phrase recognition in the beginning

stages would be to write the melody and words on a large chart or black­board. The melody without the words should be written on tagboard and cut into phrases. The students could then reconstruct the whole tune by

matching the cut phrases with the ones on the chart. In singing the tune have the children show the ups and downs of the individual pitches with their hands* Help them to discover that there are only three dif­ferent tones. The above procedure will then lead to the explanation of

the purpose of the staff and clef. Explain the method of naming the

notes on the staff and why they are named. Show the relationship between

: , : - :-v . : -' \ Z ; - 3.1

the sequence of the first seven letters of the alphabet and the names given to the notes on the lines and spaces of the staff. The concept of

the sequence of the alphabet applied to the high and low of the staff is

the important factor to teach at this stage of the students growth5 not the memorization of the names of all the lines and spaces. Tell Students- the name of the first tone (D) and let themuname the other two tones*Have students discover that the words: and tones coincide with the pulse;

beat except at the ends; of the phrases? Explain the function of the two- four time signature as signifying that there are two beats in each measure and that the beat note is the quarter note. Demonstrate how to assemble

the clarinet and how to produce a tone. Show students the fingerings for the three, tones appearing in the tune. Help each student to finger

end produce the tones learned® Have students play the melody on their instruments ail together and then individually® .The students who do well should play the A part in the following tunes® The students who have

difficulties may play the B paft.l v ;' ' ; ; " ' >

32Time To Work

,7 2- i i — t— T' i - -1 ’'. . — r— |-----yd

When it*s-A-i-.:time to ivork, we're

z jL±z J^:-J - j: J. -ready, All to-gether,

2------------T -— ~ "1 — — ----- y — t----------1---- f--- ---------V :

ev-ry one::#) ■ willing,

i i

^ Tcheer-ful

— J — J I--J- -j ..... — 1strong and stead-y

c

N<

That's the )tes and fin^e

way our rings

Group

u — j - L y jwork is done

F (first space) AG (second line)

Time To Work

r 7 —

r~~~ 7y J' =2--,.:,

U—jj—i ---: H

Lw-I\U-J-J-J

' iU— :-1

f==J U_jJJ: • Lj-j-,

W .j-hj—jj

33

Another Morning

Day has: rj:: ■. . J r ::J-.: ■ J

come and birds are singing Sun-light shines along the way,

--1— 4-:-- hi--1--- 1-1 - - -J---41--/— --H — 1-- H --- ^y T i n J - u c r i 4 - ^ d l

God has made an-oth-er morn-ing, Come, a-wake, the breezes say.

Notes and fingeringsGroup A - A (second space)

Group B - B (below staff), F (first space)

Another Morning

GPa.-------------

- , 4 = 4 5

i i ... -| _ |—

= 5 M 4 -

: ? -----------

— —# J

- r - r l

■■ v - - j

• i —t - r

— 1— L—#— #—J

-r-- r -

4 4 J w

’x l _ '

tF----------r L 1

-■•-i - 4

f - T T I t -L---

4 4 - 4 -

h —4 4 U - J - . J - 4 . -£--Jhw w

Twinkle, Twinkle, Little Star34

Twin-kle, Twin-kle, lit-tie star, How I won-der what you are!

^ - J -J-J -J- J-j - J - :r~f43 J j lUp a-bove the world so high. Like a dia-mond in the sky*

^ J J ■ -J ■ ■ J ~ gi- iTwin-kle, twin-kle, little star. How I won-der what you are.

Twinkle, Twinkle, Little Star

= t i = N N ^—i—r- t i : j ..V.;— el---- W -w L h J r

B

^F3F3F

1 1

r. al' J - » h w l" H

P ^ M kN d J '■ JB

, m A i sId

B

-J: : ^ rjrrj:

j d - 1 J-J 1 J I J - -Jrig.

35

Wind in The Trees

-7* 14. . :

Wind is sing-ing i

P# 1 - - ■ ' ■ " .7“

J . / 3'-tn the trees,

■} S - I 1 -Sing-ing sing-ing up so high.

Z31 / j h 7-# 7- .. 1

Sing-ing, sing-ing lit-tle wind, Can you touch the sky?

New conceptsKey of G, four-four time signature, whole note, unison

Notes and fingeringsGroup A - B (below staff), F# (first space)Group B - F# (first space), G (second line)

Wind in Tie Trees

7 ^ .•-J—•J-~J ■1 -J J j . 1—J—J—J—-j

- 0 - ..... .

_ j :—J— J — ^

36

Abide With Me

A - bide with me! Fast falls the e-ven-tide; The darkness deep-ens.

Lord, with me a-bide! When oth-er help-ers fail and com-forts flee,

P iJ J J J Ai.J _jHelp of the help-less, 0 a-bide with me.

New conceptsDotted-half note, quarter rest, natural sign

Notes and fingeringsGroup A - A (below staff)

w N Q. M N

n " C # " "

Group B - A (second space)

Group C - C# (middle)

Abide With Me

7 - ^ f - | ....... * * J 1 j — — :-------- f — , j /

; f c i--------------------- h ~

— * — J— # — j j - -— J , ----- — S -----

■ - ■: ? ■

z^::k±

J j - ;

# - ■ ■ — ;.... - - r-------- ^ ---

3 : " ' - J . - *1

^ - - e l

[ P , - ------ — 1 - i — f ------ - 3 ------

- r W

to — “ ---------- e -J

- • f - ' - : - - — — 1 " ........." 9 -1

■ g ■ # —

V ±=*=3r - j ; i

— i

. - c j j- j-*-% - - i -

• , - o

— P ---------------------—_ C D 1 | - 1 ■ o I

V z ) r — ~ ~L - J —

* - + = 3 =

3 ■- ‘ « i . ' 5 6

38

Work Time and Sleep Time

-fo fr —

Day-time is the time for. J . J . ^Light, Bet-ter work be-fore the ilight,

r - + - j = F --- 1----- - , | [... -4 _r_:J [-T-HIjP -J-— jl - —*- -- J---J - -j

Bet-ter get your tasks all done. And your playing in the sun.

New conceptsKey of F

Notes and fingeringsGroup A - B flat (below staff)

Group B - B flat (below staff)* it A N R

39

Work Time And Sleep Time

S 3 r £ ^ wi

. i?L3r ..

■-_jL :.:.ev ■ ■

i

U ^ j J ■ c—

W3'* L jL ^ J

A — :------- --

w = ± = ± = f = ^'V z j L _ i -

I'tfrk -±-

A — i— r

Wi

w L ^ J

'Y J — J - —dLw L y J L ^ . y j ~ J " ^

Worship

Ho-ly, ho-ly, ho-ly, Lord, Be Thy glo-rious name a-doredJ

f t — t— -1- - ■ j ” — r- L --- 1-- r i^—

^ 4r. ■d - — J— gL pi flLord, Thy mer-cies nev-er fail; Hail, ce-les-tial good-ness, hail

New conceptsRepeat marks

Notes and fingeringsGroup A - B flat (third line) Group C - B flat (below staff)

41

Worship

- , = 3 = i W r : - H - -nhh

p w

t i

J. — j . ------

A - I -r - j - r -

L j _ j J L" „ 3 3 h ' .„

------ \—

J ^

• — T T " ■— ) ~ ~ t ~

— — ■ - -

J - — o L — L ^ - j J . : _ i U . . : :— # !—

'■•■■•e1' " ..

- A ----- — T - -t~ir t

w “ ^ f e -

___ _ ____1___

w

__ 1_____ 1__

L # -

— t—

— n - d - — — w -f-i~...

42

Song Of The Clock

- j- I::"Tick-tock, tick-tock", sings the clock, al-ways tick-ing not a stop.

# j j 1 j3

All day long and all night too, Ev-ry day the long hours through.

r~ tl — ^ • J t Tf .:- T - - 3 P

w" ■ — *— e- ,— *— #- ~+ . ± £

"Tick-tock, tick-tock", sings the clock, Al-ways tick-ing, not a stop.

New conceptsStaccato

Notes and fingeringsGroup B - G (below staff)

SuggestionsHave students tongue sharply as if saying "tick-tock".

Song Of The Clock

t f ' f 1 J ^ = i F

— i—

p W

—

#i —t - e - -I — i— t - — p r g z

W - f - 4 a p

h j ■ J

w

- j — f- i - i

■ J —C -

^ - 4 -

- i - ^ i*

. _ i i__

d b z t i

-rt - "S := ? ~ 3 =

— o

^ v ..—# ---ar— . j —J — f e -

..........a

W = 3 = 3 f

i i

^NM------

r n—t r — _

ol

— j— —

. j . j _

■ I- -1- J

..f :# " -

y - j -

J ■ gj"

—j -----1—

k n =

-- p

= 3 = i =

— i •? "

V

A - — —

Z C ^ ' :;f ::gr:

- — g -

. u n _y_ ..Jr. *1

— f -

w r M

— r ~ , — r— , i , Z 3 -

w wj - e - - ^ - # L -J—^ L - l - J t

44

Faith Of Our Fathers

i i J-4Faith of our fa- thers, liv- ing still In spite of dun-geon,

fire and sword; Oh, how our hearts beat high with joy

When-e'er we hear that glo-rious wordI Faith of our fa-thers,

ho-ly faith. We will be true to thee till death.

New conceptsThree-four time signature, slurs

Notes and fingeringsGroup 0 - A (second space)

45

Faith Of Our Fathers

- u ----M - W 4 * ^ t o

k b t Jr -i 1 1 1 1 . j |

— 3:---

i

F f = =

L w y j j ■ J ■ ■ 3 - f c - J - z j t : .

1 .

-)rz%zr__,

k w J ^ r - J ■ ^ 1

p w

----- r

L W

-H- r ■ —r ~1~ % 111^

f " 1 1 T

-J-

1

LjzTJ

-

L—fit—J

# = =

— 5— —U u - U t — S : J=5 P

w

F------

w

t L

- L-—

w L w J ._ -J —fit--J"— < > — u

46

Lightly Row

-# #■Light-ly row, light-ly row, O'er the shin-ing waves we go

"I J,.:J-L .r3Qmooth-ly glide, snooth-ly glide, On the si-lent tide;

§ L .-j -- I ^ I

Let the winds and wa-ters be Still and calm and clear to see;

f K T '3 'N 1 J I - Q \ JSing and float, sing and float In our lit-tle boat.

New conceptsEighth Notes

Notes and fingeringsGroup 0 - G (below staff)

SuggestionsHave students react to the pulse with a rowing motion. Have pupils

clap the duration pattern. Point out that in the duration pattern some of the beats are divided evenly and that these evenly divided beats are notated

Lightly Row

c

)■ i.: .: :

E S r ^ E :

y Y" /■

I f t ............- ,_

i = S = 5 — #1—J — #1—L—#t-V— # —

J . - i J P

ur 1 I 1 .................. 1

j? ' —

----j ----------- w w . i h

V ) ......

I ...; — 1

U j . u w =

f ........... .

^ J

r-

- i H r J

r ______

$ J : . 1 j :1 ^ = 1

fjT -J. I J.

Jolly Old St. Nicholas

Jol-ly old Saint Nich-o-las, Lean your ear this way,

j j i r j n \ iDon't you tell a sin-gle soul What I'm going to say*

d r J J J £ ~J 1J J

Christ-mas Eve will soon be here. Now, you dear old man.

i - j ;

Whis-per what you'll bring to me, Tell me if you can.

New conceptsEighth rest

Notes and fingeringsGroup B - C# (below staff) Group C - A (below staff)

Jolly Old St. Nicholas

fl~. J " 3 "V

7 Hr??- - - - P“ T— H T r - S - I ■■

[n -ri\

3 ]* f ST-ttd- . . . . . . . . . . . . . - * z$ ) f n . - . ^

-}\ ■,—' I " ■■ ■ V - ' M - f T — I- - - - - V - — n — hat—n »] -

-? t . " ' .. . . . . ■ ■ ■■ . . . . . _ .

— # L — ^ — 9 4 9* 4

)—f /"")

— #»—#— V —

4/ r i j

- - - - - - - - - - - - - :- - - -

[-•J*-- —.. - - - - - - - J-9-. _ * £ / • J. :

W w

r • " ■ r s ’ "Tz :

.: rr y

H - i ■■■ i |

Z 7 f = - - - - - - - - - _ _ _ _ _ _ _ - - - - - - - - - - - - - - - -T fl / - A . , r y J . . . I - t

ti> >

O w

> Q

w ►

50

Jingle Bells

a)f~~J7~Tn

-P*=—}—i-- r— i—» »

• ::f i "77:

... i T—r - n

..U -- —

-Jl3zJ-z

■—- - i—

— J—--

i—i 1

I--- ........- ———t—

^ 5 - Jz:

«■—r I

d B rJ.. 1

. I—"1 ##' 1Q---< -1--fT ■ -/-#—#-#—

/ f IV

_.J% V

y J * . / j-. ~. J : i:.: jror; rjcj:y;

Jr » i rt i— i

-T * 11:=t E=1

:.J:~Jyii}--gt=— ^ _ d l

51

Day Is Done

J ■ r - v t - k l 3

Day now is done, there's a star in the west. Still is the land

and twi-light is deep. All things are read-y to turn to their rest,

(U J .. ...j-.. J [ ■ J; -jj -J-Fa-ther. Thy love is guard-ing our sleep,

SuggestionsHave students describe the mood of this song as being a quiet,

peaceful lullaby. Emphasize playing the song smoothly and softly.

1 8 l._j_ ^ 1 JE,. J

^L-.j... ■...; ...^.J. j i

=d - J:1 J. 4-J-

32:

i?

53

Autumn Leaves

Lj Jlj$ f j J I i- -j ~T' ' ■> 1 <1- J- iAu-tumn leaves fall-ing, win-ter is call-ing, Flow-ers have

i J -f-'l---1—- • N = q = H — - , . Lr-}. .■ .j. -^i=i(g)' "g.-y': "j' J--J ..V.:

gone to sleep. Cold winds are blow-ing, soon it will be

J 1 JLsnow-ing; May-be it will be deep,

New conceptsThe tie

Notes and fingeringsGroup B - F (below staff)

" " - E (below staff)

54

Autumn Leaves

A

B

C

i | ; j ; U j ^ , j , - :

| 4 . ^ 1 ^

B

55

Work and Play

t —j- J~ - "t “ r r y =2=cK--——--d-L

Cling, clang, cling, clang—#—J——pLL, Hear the an-vils I

'

xj---------T--c - j-~ v tJ--- . 1 --f— r i ■ . X-l--------

Cling, clang----- 0—, cling, clang

* -J-Clear the tones they sing!

■■■ ...: ■ ■ :4m~ —Cling, clang cling, clang, All the sum-mer

-6 — —— day.

dr)--d----j——T —."f- ■ | • I M 1—""1------ €r—Cling, clang

New conceptsCut-time

Notes and fingerii

----- -cling, clang,

fermata, key

" _#™ " * V-While we work a-i

of a minor.

' * 1way!

Group B - G# (below staff)

SuggestionsHave students react to the pulse by imitating the pounding move­

ment of the blacksmith's hammer. Point out the half note as the beat

note and show on the blackboard how the notation would look if the

tune were written in two-four time.

Work and Play

= fcs==i =8=±= “t* • - — It- oL'

:- h= 1: Me- 5 iti

-:w J- #

---p—H-7—~r ~i ■. A—„fTT" j?P - - —

J: _p i t —-'—i tJJjr"i":r—SU

wzt-——

4 4 w- vl

w w W

51

In The Gloaming

1. -■— - $:§L ^

?._L.— t- T ~

t * * a

- y — t- — r — r*

J.. ••■££.-:. 1: -^---- -------- # = l

— ■— ?leL— s— j=fibfJ= -er-dr — d— <p— J j- *' JNew concepts

Dotted-half note followed by a quarter note in cut-time.

0 Come All Ye Faithful

m r r - t - fw #■

T ^ -W - J - 4 J - j - ^

(f c! -fL_j j I j

58

America

My coun-try,

1— H-- f

g;: h jl.*tis of thee, Sweet land of

— t" ‘1 vi— I ™ "i i '

lib-er-ty. Of thee Iwsing.

" J [ : . J : - *r ~J L— j— Z----- JLand where my fa-thers died! Land of the Pil-grims' pride!

h-------------- ------------ -------- B— L -J- .ZT jX,

From ev-'ry m<— #-•— r ----Dun-tain-side

---XJE--#--y-JLet freedom

: ’ring!

New conceptsDotted-quarter note

SuggestionsHave students observe the important stately character of this

number by playing broadly and smoothly. Play the song with two long phrases.

59

Theme: From The Ninth Symphony by Beethoven

A

B

C

A

B

C

New conceptsKey of E flat

Notes and fingeringsGroup A - A flat (second space)

E flat (first line)

Group B - E flat (first line)

.Jr. / ■ eL.fr

— ;— t— i— f- I | 7 1 1

f F r V : * -

-------

■ J

r w

0

-1 1 .... I : I •

[•!-/.'j-i

(■ “ I * 7 i 1

: V7-

J. j v.i: .*.: L —--j-

j ? ^ : *

6o

All Through The Night

P T-

. J ? j . v X J - T u ' *Sleep, my child and peace at-tend thee; All through the night;

o — -y ^ ^ -y-_-e-Guardian angels God will send thee All through the night;

A 1 l \ 1 J " J = j

Soft the drow-sy hours are creep-ing. Hill and vale in slum-ber

steep-ing; I my lov-ing vig-il keep-ing All through the night,

Skating

zgqE— —— 3 - - - J— t—— u — \— T - • r~ i~ ■ f , T T t j ---.-- — H — l^

Skat-l~cItjing,

€f+-1skat-

-9-,ing.

l- ^ . *Skat-ing to

-J- * *Left and to right

Slid-ing, glid-ing Gliding to left and to right•New concepta

Fast three-four time which has a feeling of one pulse or beat to the measure.Suggestions

Have students react to the pulse and observe that the beat note is a dotted-half.

Come With Me

-----O 1 I — J - " Y 'L. /____i ..... dV

j - -------- 1

Come with me, let's go skat-ing, skat-ing;

3= a: JCome with me, let us skate to day.

Notes and fingeringsGroup B - B flat (third line) Group C - B flat (third line)

62

Day Is Done

*t e=-6---- — # #.Li. .L..I -F-W-U = d

fr^__

MelodyjWr-r-r 1

L t iJ

j i >' j j i

- “k:;::.. -#33?

j--j 1' \ . “7

-y-eL

"C & J *

^ - f f i

__6____

—e----

5* V >

p . - # # . "P"T f"

— 0—

—0— n

%FFrr ■ r-j "]

■4—-—

-■)■• t i i i

-1— 1— |— —*1—i—

l l rt3 +

—gj1

ibfc

js™- :.

. .::

...p1. yJ-

:W rVT7 e) al

wjar:::

Notes and fingeringsGroup A - F (top line) - - (first use of the upper register)

E (top space)E# (top line)D (fourth line)C (third space)

63

America

. J).a .. i i .. — 1—

f w = t

-t- H -1 -

- -

l: :J%4

= J = t ^ =

— H — h >..-

F f T F

r f - f f— » # - J -

---r— ---

#» #- V' .;. <,.c. r

' Y7'f

*• J--J-

1 1 1

-- gM--- . ,1. Ll .

. f‘; c y ■f h / >

--etr-— 1

^ f r i

L o U

r ^

~jg: r v .

r H r -i

1' f # V -r-i

- 4-

)•■■'^4 — ' j j f

. — -e=fc

= h - - l - z £ - ~ = U = t d

.■ r:..rt..

--&+--

- J - W Li^irrB

Notes and fingeringsGroup A - B (third line)Group B - G# (second line)

E (top space) - - (first use of upper register) D (fourth line)C (third space)

64

America The Beautiful

Mt f r - f i ' r l r f ' i "#T =r=F0 beau-ti-ful for spa-cious skies, For am-ber waves of grain.

For pur-ple moun-tain maj-es-ties a-bove the fruit-ed plain!

--A■t, j r r .r fi r-u-t 1 r..;f r-fW

A-mer-i-ca! A-mer-i-ca! God shed His grace on thee, And crown

ZZT3E

thy good with broth-er-hood From sea to shin-ing sea!

Notes and fingeringsGroup A - A (above staff)Group B - B (third Line)

G (above staff)Group C - I# (below staff)

E flat (first line)

65

America The Beautiful

f>lH -I- —-/■ - ,7 i t .-jcLf #

T ~ f - " J T =

_—1--|Q— l-~Jl ■

-,H— r i i

U . .tl

— 1------- -

; ; r - f 7!

-------T -— i 11 1 -----i-'dfc".. — p-f-Jh jfcL — jL

~4t~ r—P ■ j-’ -f y T

~?*k ' T" iT’ i #

i *

*i}4tz r ■ c » j j

1 U 1

■#, r ,F-y-^ jr; -j.-c ) Tff'f-- "7- "1” |"

_jLj—. at-*-- 2==E

f?i r f f',*_F =-r-K^

<.-------.. _ ... r

33L..Jt.J= =

- .M: ...»-J_

-4 J

-i—----

gb -n-rT _!---' 11 .b / ■ .|:L:JL1 i =

1

==J_LLi f f j*- ,ft! F r i

a-;- — t —r)--- -7—f

« _# .AT.

-------t~

- 1 ' f. d.

__|__,j4

Faith Of Our Fathers

jfj' f T "F = F =F ■ P..... - f - f " TflZfZ. = F =

MELooy• •

y "iir

* i

■

1

T»---- ■»”■■■■ j"

1

—1—r

—i—t---

— —CJ)¥

-f-3-.....(-1-

4—i--

_ — t-

L y ± j

-d— r

* = w =

--f-TT

-J —r- 4 4 + -

-4— i

= r f :T f -

-d—

F f F F

-«==v=

— —f—

—oL—

. -pr. .:-

w

F T * !

jdLdb.—el—

/ • r - r

:...r

. -i* # . ►Vl- 5:-

H ' r" 1

f f f^ L X z t i

r - - , r

— M-

r—+

____*.. r

j i— t —

4 - ^

-H-t—

-0’S*-1-- 4-1-1-

—d— L

- f—f -

0.J

—B---#—

.. a -.__

- f — j IT

w

9—^—

j - -

- ttH— —z=:</

J . .... . .

J — 4—

"T

— L-----

... ' .

-414-p

,#— r

-d

= ± -J-

4-4- — 1

—1—^ 4 ± b J

>?; J ) 1

4 —F -

—1— r

i =

—i— f-

1- # V

- 4- *— »-

LP?.

—1— r

— Gh---

o & " # — st--- " * J (” # - ^ t i - -4 —j - -# L -.

Groundhog

&)% . _ V J- JszJ: J / . g :

Shoul-der up your gun and whis-tle up your dog;

^ - f r- : r , _ r . r . r IShoul-der up your gun and whis-tle up your dog.

A-way to the woods to catch a groun-hog, ground-hog.

New conceptsKey of a minor

SuggestionsDiscuss the origin of the Appalachian mountain folk songs.

Help students to interpret the strange mood of the song.

Groundhog

. t-m jlb,f. : >— Jz

# n .n h*-n .rj J - - . W W

■ ' " >PT"' :t. TZ1# J2- £&=F . jj. /:/-.; J

f L ^rt‘

sl— i - - - 4 - j - r

V '0 J.J ------------» -----1

— * ------- *W-V

y f ‘ ... — ,-------

L-#2—J—J—» J: ^ J J."— J — —J—

^ — J ------- — J ---------- I' i- J : ^

69

Time To Go To Sleep

—}ip-v— f— -— L —

... - ■ s-

— C — -----s— ---- --- g |~:f 'P ".~qt* : r - - r ~ f = j =« I ------------

Light is fad-ing

jO 1 * ■

in the sky,— 1---- 1— 1------ 1

Birds are home-ward-------------— ------------ 1wing-ing

_ _2 - H — f — 1--------1— — - f — P — 0 - iy e ~ ------------ ... ---•-------- - 1 — h - f

I H — !----------------- !------------1---------------- II

Shad-ows on the hill-top lie. Far a bell is ring - ing.

New conceptsKey of B flat

Notes and fingeringsGroup A - B flat (above staff)

Time To Go To Sleep

71Brahm* s Lullaby

B

A

B

c

j l */ V 1. i L L y - A U - ^B

Notes and fingeringsGroup A - F (below staff)

E (below staff)

72

A Hunting We Will Go

-i— :— i— ifi------^z<h ....... . — I - r— f? 11 P ’x y if. -T+ _ / r . i 17 I / J * # » - »<T f # # # # * f J *

A hunt-ing we will go, a hunt-ing we will go

¥~~9 = t = P -#--#—*PWe'll catch a lit-tle fox, and then we'll let him go.

New conceptsSix-eight time signature, key of D

SuggestionsHave students react to the two beat pulse, and duration

pattern. Explain the dotted quarter note as the beat note which may be divided into three equal parts or two unequal parts. The uneven rhythm of a quarter note followed by an eighth note might be explained at first as a long-short-long rhythm such as that of skipping.

73

A Hunting We Will Go

. rt — T ~ 1 ---P“iiii _

.

1 / / I

i i A

— J" — J""

1 r"? 1 rf

. J.....

— i---;---19-

=7%g---

LJ:-J---1 — y--J--J--J— -V.

1 I/^ F-'T 0

i-n*:--- /—^ :*- I-

:ijr-

p. f. :7?

j i y

J .j p.

M ^ - - l = 4 - ^ y #«

— — r -E HP '

,z ii «r - n i ■■ n

— — ft— J.— ~A-rJP~ :J~ J7 .

k<)i ■.«!-/ V /o

jAf. — -

■J: J " X h n r r

---------------T "" >•... #- 0 •

= f — 4 -4 ^ — #/-- -#” 1 ■

74

Humpty Durapty

Hump-ty IXimp-ty sat on a wall, Hxmp-ty Dump-ty had a great fall.

Hump-ty to-geth-er a-gain.

SuggestionsThe natural rhythm of the words "Humpty Dumpty" will help to

bring about an understanding of the long-short-long rhythm in six-eight time..

All the king's hor-ses and all the king's men, could-rft put

75

Humpty Dumpty

T’'f —p *f n — f-* f ~ jr.:-I T 7 / 'C it

7;; -t ‘ pr- ■ ' ■ '

- L = J — P—

.A— .

1 C7 ‘ -LvM Bffl"

<7

— T- f - r~ — i— -..L-...Q— --- - ■.. j -• - J _

— ^2 11 ■ ■f % r r-

.-f....*1 J. ^

- f -| T#"‘CO- _ ___ __ 1

r -|:. .,--! «-*- tt- p ■ r.- -

. . .... — L

^ U Lii J

- r ' - v ; ,----

= E = j — — L L t ' - L L i - -

■ »■ J -tl -l-

U j r - i

[ j I Z d

Row, Row, Row Your Boat

---,------- ,---a-C O Ar '— /-— /- .. 1..f-j-; • . <5,__:" T —

A V/

Row, row. row your boat Gen-tly down the stream

— f— ,* ■ •*4 - — " X - T r r t ---y. j -

; j ; n t =Mer-ri-ly, mer-ri-ly, mer-ri-ly, mer-ri-ly

Life is but a dream.

New conceptaDotted-half rest

SuggestionsBnphasize the even division of the beat into the three

notes above the word "mer-ri-ly".

77

Row, Row, Row Your Boat

i f y f r — i--T - ■ —n T"" I n 1 K-4^-—r r/ fT]---1—4—Of 0 . 0 . -J--* - / ...

i T? ’ 1.

uU V?

—1—ft-)—f*"

'■wr- ’ ’J. • jJ—J-J-— 1

i ■■pi ■■ ■■ — 1 - rT

f . . . . „ |

— L"."P

- j; V-J

T--(]) * 1 ■' " —1!■ l ~r t i i

'"tJ;; :.":::

jj'y i - 7 7 "h

1,;, f; r Wr

1 A if P--4——

. -J—]?-

' f P 1 ju-ijv ■ ■ —

fT: - b j r j c r — .

78

Dance Macabre

J fj-jjj - _ : J . .f

Surest ionsHave students listen to a recording of this number and

describe the spooky mood that they feel. Discuss the minor tonality and the chromatic descension of the phrases.

79

Hot Cross Buns

L, . r -------1----- _ _ ------ r— i---r— 1----— _ y _ U — j— j j ....t t z A

Hot cross buns! Hot cross buns! One a pen-ny, two a pen-ny,

i fHot cross buns!

New conceptsTwo-two time, sixteenth notes

SuggestionsHave students observe the similarity of the rhythm of the

tune in the three different time signatures. Have the students indi­cate the beat note in each time signature.

Hot Cross Buns

J - H - j

Hot Cross Buns

80

Listen To The Mocking Bird

y-wiUAmUj:* i L'jjjpvI J1 m i

Caisson Song81

B

B

B

>ivn' N f ;~T"TV 1 IS. - f i x

>- p T —

f— 17-j

zK T

r s ilf v t"

— ^ 4 - A M - :. T ic.J* - F F p - kMr /

* K #

J?-2. O 1 #

1 J -J-- w1Z

- -O;

V -

f" 1*"

K h b

— i—

W

f*T~

W -

— 1—

W -

"#■ >■ v - r ^ A - fi—• %. — * — !— r rN =-f------

—I J i1 1—7

-r~-T—

-t— r I I

--<5*--- :fcFi£:

/ _ I .1 .1

i h = -o -€r

zrzz— i f

— d— — cL— *Z- ?- :vJtuF-f7.

— ■ j"I j u ^ J

:,*r4+-

W

r f f i

= t i =

= ^ = i

U - w - J - j -

k T i*i t - —C

:h t—tr ~ c = ^ : -#— #—"...

___k% . -- 4?

■: ' a r ^

t i :

F*. > ly

t r r

I

— 1— :■

= y =

J~T\

t i =

1 . i

= N = J = £ = -

— i— k

= 1 = 7 =

--1

f - - P

j h t i

conceptsSyncope First e

-et-—

3it ion, ind secc

Jf -€r---

>nd endi:ngs

-J.#

xes and Groi

■J # J

fingeriip A - C

E

SSS1 (above staff) 1 (above staff)

82

Theme: From Symphony No* 1 by Brahms

A

B

C

» j f T ’ P jr— j~ f / f T' Iffva> -

ir • i-

. . fy _L__ —r— p— #— .. ■ rT . I ! [ .. ■I r

y-o-— |

- . tc-LjpL

— -pf ■ -

— 2. . , . : . — -

= ^ £ t —

— i— i— -

T r f S ”

— r — |-- j--

— sL-- —

-9--9-- ■ O”". v -- — &— : _c r ■ :-z r

f r ? r f T-f ■.«■ *' - S.- ...---

7

_p_---y - -

pl.l: N - ! , I f **

■+' j > V T

-it— j _

d id 1 ■3 -....

-i- — 1---- f—

--- gC-Ji-

f i i j — I--- T ~ j ----1~ 1sL. — e --- ©*— d - :d — '

1-5/--0 I-- - - jr ---- U

m e s s v

SDSMSSI; S ® : EECOM'IEMDATIOHS

gumnazy. The purpose- of this study was to eonstruct a class method for learning to play the B flat clarinet which would meet the needs of students with varying abilities and would provide adequate musical

growth necessary to play the clarinet*. The study was considered im­portant because of the value such a method would have in contributing to the -proper development of.the students in an instrumental class®

& review of the literature concerning individual differences was made for the purpose of determining the existence and present status of the problem. The following conclusions were made from this reviews (l) Differences in musical ability are present in music classes. (2) Musical organizations should be divided in order to provide for in­dividual differences. (3) The division should be bas#d on abilityj not sex. (4) The division of a class into three ability levels pro­vides a workable classroom, situation. (5) The membership in any one group should be flexible. (6) Variations in ability become more appar­ent as the students progress. (7) Present method books are. inadequate in providing for individual differences.

The philosophy and psychology of learning of leading authorities; was reviewed and used as criteria for the approach that was used in the method. Seven currently used method books were analyzed for their

possible aid in determining the approach8 sequence9 and scope of the

method® The approach of the methods analyzed was not always consistent with the philosophy and psychology of the music educators discussed in

'this study« The method was constructed on the principles advocated by the •latter• "• * \

Many familiar melodies were presented in the method® The learning of certain basic rudiments and the development of instrumental technique. Was- to 'take -place when suc'h knowledge and technique would contribute to

musical growth of the students/ when ezperieneing the musical value of these songs® The melodies were presented in such a way that technical skill could take place by analyzing and playing these songs®

The general learning procedure for teaching the/songs in the method progressed from the whole song to its parts. The functional approach c. - was; suggested as a means of introducing rhythm® - y

dhe general sequence found in the methods analyzed consisting of

the introduction of notes, fingerings, and technical problems was fol-: :lowed in the presentation of the material in the method. . ■

The selections for the most part were arranged to provide for :

three different ability levels. Part A was designed to be played by /the rapid learner® Part B was provided for the average learner®. Part

Recommendations. The division of the selections' into three .ability levels was made according to the difficulties involved in fingering and producing certain tones, and the difficulties encountered in interpreting

and playing certain rhythmical figures. The method should be used ex--

: 85tens lire ly and further experimental study should be made in order to

determine the validity and practicability of the material that was pre­sented for each ability level in regards to the degree of difficulty

and rate of progression, ;The needs of students with varying abilities should be met and

provided for in the intermediate and advanced levels=Small schools with limited instrumentation in their beginning

musical organizations should have music arranged to meet the needs of pupils with varying abilities by devising methods for various grouping

of unlike instruments» . ,

BIBLIOGRAPHY

' . Books:: : . ■ ■■ : : :Kw8.1wassers Jacoby Problems in Publlo Sohool Music, Mew York?" : M®. Witmark and Sons:5 I932®.. ' . ; / vLamoreauXg Lillian A® V Leev Doris May9 'Leamine To Read Through Exoer- • ienee, Mew Yorks Appelton-Oentuiy-Orof't $ Ine, 9 1943

Li, Pei Yu, A Critical Study of Group .lastruction in American Schools® Shanghai; The Comacrib Press, 1937m - .

Monroe, Marion,- Growing Into Reading® . Mew Yorks Scott, Poresman and: =0.,Murphy, Howard A®, Teaching Musicianship® Mew Yorks "Colemen-Ross ;

Company, Inc®, 1950. ;; i-

MursellJames' L ®, - The Psychology of Schobl Music Teaching® Mew Yorks ', Silyer Burdett and Co®,, 1931®.; ■ .. .. /

Morman® Theodore F®® Instrumental Music in the Public Schools®Phi ladelphia s' Oliver Hit son Company , 1941« -

Seashore, Carl ® A Survey - of--Musical' Talent In the Public Schools® . Iowa: Published by the University of Iowa $ .1924*

h. 4, . " : Yearbooksv ' ' / - . .

Mursell, Tames L®, "Principles of Music. Hducationw ® Thirty-fifth Year­book Part II® Bloomington, 111® s' Public School Publishing Com­pany, 1936® ■ 4 4 : - 4 .

Method Books

Hovey* N® fh,. Rubank Elementary Method for Clarinet® . Chicago: Rubank:. ; :4 , inc®.,v 1933®;." ' ‘ i h : ; /:4 ;.. \4 ./ '/. - ; 4 4-, 4 'Liegl, Leopold, Carl .Fischer Basic Method for the Clarinet® New Yorks ‘4 - Carl Fischer, Inc®, 1937* 4 - • ' r . 9

Miller, Robert, Boosey. and Hawkes Instrumental.Course ® Mew Yorks ; Boosey and Hawkes, 1946« . ■ :

Prescott, Gerald R®., Phillips, June C®, Prep--A Beginning Band Method®• Minneapoiiss - Paul Js,® Schmitt Music Co®-, 1952e

8?

Storerg- if.'. Ae g Tne Hew lay. Method' jor Band.--: Kansas Gityi . ■ Jenkins• ; ; .'V.Husid Ooej' 19369 V y..-" '' faylor» Ifeurioe Do $ Easy Steps to Baiig» New' Yorks Mills Musie, Inc«.$.

; v-:1939»: :■ •: : y v -: ■ : ‘ ;y y. Weber9’ Fred, ’;Belwin Elementary. Band Metkadw . New Yorks .' Bel?/in. Inc. $ -

1 9 4 5 . y :-y y . ; ; y - ; ; : : , . . y ; ' y . - ^ k : : : y i