Title: Pratique / Instrument / Ocarina / Transverse / Piece / Carnival of venice

All: The source of The Carnival of Venice is a jovial Italian folk song that has gone through a variety of lyrics throughout history. Keeping in mind one iteration can help the player approach the theme with lightness and humor:
My hat, it has three corners,
Three corners has my hat.
And had it not three corners,
It would not be my hat.
Try to maintain the phrasing across the rests. Do not breathe in the eighth-note rests, but instead breathe on the quarter-note rests to create longer four-bar phrases.
Page: 7
Name: Theme, Carnival of venice
Composer: Arbans

All: Try to maintain the phrasing across the rests. Do not breathe in the eighth-note rests, but instead breathe on the quarter-note rests to create longer four-bar phrases.
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Name: Carnival of Venice, Variation I
Composer: H.W. Ernst

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Name: Carnival of Venice, Variation 22
Composer: Paganini

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Name: Carnival of Venice, Variation I and II, Preparation 1

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Name: Carnival of Venice, Variation I and II, Preparation 2

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Name: Carnival of Venice, Variation I and II, Preparation 3

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Name: Carnival of Venice, Variation III, Preparation 1

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Name: Carnival of Venice, Variation III, Preparation 2

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Name: Carnival of Venice, Variation III, Preparation 3

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Name: Carnival of Venice, Variation III, Preparation 4

All: As the variations get more complicated, try to maintain the same relaxed tempo as the theme.
The articulation indicated by staccato notes beneath a slur is called “portato." Commonly used in stringed instruments, the notes should be lightly tongued in order to create a semi-detached articulation.
Page: 9
Name: Carnival of Venice, Variation III
Composer: Paganini

All: The player should trill Bb to C by first fingering Bb and then trilling the left hand thumb. Make sure to complete the trill by pausing slightly on the Bb.
Page: 9
Name: Carnival of Venice, Variation IV
Composer: Paganini

All: Continue to maintain the same tempo as the original theme. The preparatory exercise for Variation VI is also helpful for the chromatic fingerings in this variation.
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Name: Carnival of Venice, Variation V
Composer: Arbans

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Name: Carnival of Venice, Variation VI, Preparation
Composer: H. Clark

All: Use the preparatory exercise to develop muscle memory for the chromatic scale. Listen carefully to the intonation and adjust the airspeed to insure accurate half steps.
Page: 11
Name: Carnival of Venice, Variation VI
Composer: Hartmann

All: Practice the variation all slurred before inserting the printed slurs. Make sure the rhythm remains even and not “swung” when inserting the printed articulation. Keep the repeated C’s light and bring out the changing notes. Keep the staccato notes very light.
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Name: Carnival of Venice, Variation VII
Composer: Hartmann

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Name: Carnival of Venice, Variation VIII, Preparation 1

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Name: Carnival of Venice, Variation VIII, Preparation 2

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Name: Carnival of Venice, Variation VIII, Preparation 3

All: The grace notes should be placed quickly before the connected note. Lightly lift the second note in each pair of slurs, as if playing a slight decrescendo.
Page: 14
Name: Carnival of Venice, Variation IX
Composer: H.W. Ernst

All: Pay careful attention to the accidentals that carry through the chromatic measures and bring out the syncopation with the accented notes.
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Name: Carnival of Venice, Variation X
Composer: Paganini

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Name: Carnival of Venice, Variation XI, Preparation 1

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Name: Carnival of Venice, Variation XI, Preparation 2

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Name: Carnival of Venice, Variation XI, Preparation 3

All: Another extremely chromatic variation, use the preparatory exercises to create more finger agility. Lightly lift the second note in each pair of slurs.
Page: 15
Name: Carnival of Venice, Variation XI
Composer: Cavallini

Page: 17
Name: Carnival of Venice, Variation XII, Preparation 1

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Name: Carnival of Venice, Variation XII, Preparation 2

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Name: Carnival of Venice, Variation XII, Preparation 3

All: For exercise No. 4, use the following variations to practice double tonguing:
l.tttt.
2. kkkk
3. ktkt
4. tktk
Page: 17
Name: Carnival of Venice, Variation XII, Preparation 4

All: For the C to D trill, finger C and trill the left hand thumb. To create light and easy 32nd articulated notes, use the preparatory exercises with double tonguing variations to strengthen both the front (t) and back (k) articulations.
Page: 16
Name: Carnival of Venice, Variation XII
Composer: Arbans

All: If choosing to triple tonguing for the sustained triplet passages, see the note in the preparatory exercise for triple tonguing options (and the Practical Daily Exercises for Ocarina-Volume 3- Articulation).
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Name: Carnival of Venice, Variation XIII
Composer: Arbans

All: Bring out the accented notes with extra vibrato and slightly more length, as these notes comprise the theme.
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Name: Carnival of Venice, Variation XIV
Composer: Arbans

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Name: Carnival of Venice, Variation XV, Preparation 1

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Name: Carnival of Venice, Variation XV, Preparation 2

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Name: Carnival of Venice, Variation XV, Preparation 3

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Name: Carnival of Venice, Variation XV, Preparation 4

All: Use the preparatory exercises to smooth the required transitions between chambers. Make sure to practice slowly before speeding up to tempo. The least amount of physical movement in the wrists, arms, and head will allow for the fastest switches between chambers.
Page: 20
Name: Carnival of Venice, Variation XV,
Composer: Arbans

All: Use rhythmic manipulation to change the rhythm of the thirty-second note runs:
1. Looooong Short Short Short
2. Short Short Short Looooong
3. Looooong Short
4. Short Looooong
Page: 22
Name: Carnival of Venice, Variation XVI,
Composer: Arbans

All: Refer to the chromatic preparatory exercises in Variation VI and XI. To speed up the variation to the desired tempo, use chunking: Practice in one-inch chunks at a super fast tempo. For example, take a chunk of 3 notes and play extremely fast but controlled. Next move on to the next chunk of 3 notes, etc. Chunking aids in short term-memory. For example, a 10-digit number 3145942994 is easier remembered in chunks: 314-594-2994. Practice chunking both forwards and backwards.
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Name: Carnival of Venice, Variation XVII
Composer: Paganini

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Name: Carnival of Venice, Variation XVIII, Preparation Exercice 1

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Name: Carnival of Venice, Variation XVIII, Preparation Exercice 2

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Name: Carnival of Venice, Variation XVIII, Preparation Exercice 3

All: Emphasize the accented notes while playing the thirty-second notes “sotto voce”. Sotto voce is the Italian musical term for playing in a quiet voice and will create the impression that two ocarina players are playing: one comprising the melody and the other the accompaniment.
Page: 24
Name: Carnival of Venice, Variation XVIII
Composer: Briccialdi

All: In the manner of Variation XIV, bring out the accented notes with extra vibrato and slightly more length. See Variation XIII for instructions on triple-tonguing.
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Name: Carnival of Venice, Variation XIX
Composer: J. Levy

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Name: Carnival of Venice, Variation XX, Preparation Exercice

All: Octave leaps between the first and second chamber of the ocarina are a virtuosic skill. Use the preparatory exercises along with the rhythmic manipulation practice tool from Variation XVI to decrease the amount of time to switch between the octaves. Keep the eighth and quarte notes singing and full length to contrast with the fast grace notes.
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Name: Carnival of Venice, Variation XX
Composer: P. Génin

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Name: Carnival of Venice, Variation XXI, Preparation Exercice

All: The transition between the A and Bb in the second chamber is awkward. Though the ocarina player is always encouraged to use “true” fingerings, in this case speed can be gained by fingering A and then slightly rolling the finger up to “half-hole” for the half-step.
Page: 27
Name: Carnival of Venice, Variation XXI
Composer: Paganini

All: The last note is a multiphonic: two pitches played simultaneously. The ocarina should finger A in the left hand first chamber and F in the right hand second chamber while allowing the air to be directed through both chambers at the same time. A looser embouchure helps to cover both embouchure holes.
Page: 28
Name: Carnival of Venice, Optional Ending 1/Variation XXII
Composer: Hartmann

All: In the manner of Variation XIV and XIX, bring out the accented notes with extra vibrato and slightly more length. See Option 1/Variation XXII for multiphonic performance suggestion.
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Name: Carnival of Venice, Optional Ending 2/Variation XXIII
Composer: H. L. Clarke

All: The player can leave the right hand prepped and ready on the second chamber between the indicated parentheses. Use the preparatory exercises to bridge the awkward finger changes between the Bb on the first chamber and the second chamber notes. Keeping the right hand fingers flat increases the surface area to cover the holes. Also, pay careful attention to the difference between the duple (sixteenths) and triple (triplets) rhythms to ensure their accuracy.
Page: 13
Name: Variation VIII