\l
FIUÎE BOOK I
COflTPREHENSII'E BAND N'IEÍ ï OD
lIll,l
TAUTZENHEISER
PAUI IAVENDER.
Band
is...
CHARTES |nENOHINI
DôN BIERSCHENK
JOHN HIO@TNS
TOIVI G. R.HODES
lUlaking music with a family of lifelong friends'
Understanding how commitment and dedication lead to
success.
Sharing the joy and rewards of working together.
lndividuals who develop self-confidence.
Greativity-expressing yourself in a universal language.
Band
is...ilfUSIG!
Strike uP the band,
Tim Lautzenheiser
were known to exist in ancient civilizations. Over the years, they have been made of
wood or metal. Early flutes, such as recorders, are played pointing forward. The other type of
flute, called a transverse flute until the mid-1800s, is played to the side.
F,u,",
tn 1847,Theobald Boehm designed the modern flute. This flute is capable of playing with
play a
more volume than older flutes. The keys Mr. Boehm added also allow the instrument to
full chromatic
scale, and help it
to play better in tune'
The flute family includes the C Flute (the most common), C Piccolo, Alto and Bass Flutes.
flutes play
As the highest pitched members of the concert band, marching band and orchestra,
melodies, harmonies and solos, and are ¡mportant members of the woodwind family.
Claude Debussy and Ralph Vaughan Williams are important composers who have
written music for the flute. Some famous flute performers are Louis Moyse and James Galway.
J. S. Bach,
lSBN 0-634-0031 1-9
Copyright o
1999 by HAL LEONARD CORPORATION
lnternational Copyright Secured All Rights Reserved
TZHALoLE.NARD"
l_acoFtPoFaA-t-loN
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F
b
{E
THE BASICS
Poslure
Sit on the edge of your chaiç and always keep your:
.
.
.
Spine straight and tall
Shoulders back and relaxed
Feet flat on the floor
Brecrthing & Airstreeirn
Breathing is a natural thing we all do constantly. To discover the
correct airstream to play your instrument:
Place the palm of your hand near your mouth.
lnhale deeply through the corners of your mouth, keeping
your shoulders steady. Your waist should expand like a balloon'
Slowly whisper"too"as you gradually exhale air into your palm'
.
.
.
the airstream. lt produces sound through the
instrument. Your tongue is like a faucet or valve that releases the
airstream.
The air you feel
¡s
Producing the Essentieil lone
Embouchure (ahm'-bah-shure) is your mouth's position on the
moutþpiece of the instrument. A good embouchure takes time
and effort, so carefully follow these steps for success:
fcking
Ceire Of
Your lnslrurnenl
Before putting your instrument
back in its case after plaYing, do
Hold the closed end of the head joint in your left hand.
Cover the open end with the palm of your right hand.
Rest the embouchure plate on your bottom lip. Center the
the following:
. Carefully shake the water out
of the head joint.
. Put a clean soft cloth on the
end of your cleaning rod.
. Draw the cleaning cloth and
rod through the middle and
foot joints.
. Carefully wipe the outside
of each section to keeP the
embouchure hole on the center of your lips. Check by touching the embouchure hole with the tip of your tongue.
Gently roll the head joint forward so that approximately
1/4 of the embouchure hole is covered by the lower lip.
Keep upper and lower teeth spaced slightly apart'
Draw the corners of your mouth straight back and relax
your lower lip.
Make a small opening in the center of your lips' Blow air
partly into and partly across the embouchure hole.
Practice regularly in front of a mirror. Roll the head joint in
or out to find the embouchure position that produces your
finish clean.
best clear and full tone.
MOUTHPIECE WORKOUT
Form your embouchure and take a deep breath w¡thout raising your shoulders.
Whisper"too"and gradually exhale your full airstream. Strive for an even tone.
ttfoo"
REST
ttloot'
REST
\
3\
Gelting tt logether
ernbouchure
hole
-
E'flot keY
il"r"
Step I
Hold the head joint in your left hand and the middle joint in your right hand. Gently twist and insert
the head joint into the middle joint. Make sure that the embouchure hole is directly in line with the
middle joint's row of keys.
Step 2
Hold the assembled middle joint in your left hand and the foot'joint in your right hand. Gently twist
and insert the middle joint into the foot joint. The embouchure hole, keys of the middle joint and the
long rod on the foot joint should all line up.
Srep 3
your left thumb on the underside's long straight key. Keep your wrist straight. Your fingers should
arch naturally. Rest your fingertips on the center of the keys'
Srep 4
tip of your right thumb on
the flute's underside between your first
and second fingers. Arch your fingers
and rest them lightly on the keys. Put
your little finger on the E-flat key.
Rest
Place the
Step
5
Allow the embouchure plate to
press lightly against your lower lip.
Hold the flute as shown:
READING MUSIC
ldentify and draw each of these symbols:
Music Sroff
ledgerlines
Meqsures & Bqr lines
Measure
I
Bar Line
The music
staff
has 5 lines and 4
spaces where
notes and rests
are written.
Ledger lines extend
the music staff
Notes on ledger lines
can be above or
below the staff.
-\
Bar Line
Measure
-\
Bar Line
Bar lines divide the music staff
into measures.
To begin, we'll use a special"Long Tone" note. Hold the tone until your
teacher tells you to rest. Practice long tones each day to develop your sound.
long Tone
THE FIRST NOTÉ
a
Hold each long tone until your teacher tells you to rest'
looloooJ
) To play"F," place your finqers on the keys as shown.
Notes And Resls
The Beot
Notes tell us ho.w high or low to play by their placement on
a line or space,óf the music staff, and how long to play by
their shape. Rests tell us to count silent beats.
The beat is the pulse of music, and like your heartbeat it
should remain very steady. Counting aloud and foot-tapping
help us maintain a steady beat. Tap your foot down on each
number and up on each "&."
Onebeat =
I.
1
&
.1,
1
t' Quarter Note
¿
I
Quarter
Rest =
1
silent beat
COUNT AND PIAY
,
I
&3 &4
2
Tap: ,l I
A NEW
v
I
I
Count: 1 &
I.
,
,
v
t
v
îJ îJ
J
&
1
1 &2&3&4&
r I,1, 1,1 1,1 I,t,
1&2&3&4&
1 J I l I l I'1,
NOTE
Look for the fingering diagram under each new note. This note is "Eb (E-flat)."
Êb
ooolooo¿
4.
TWO'S A TEAM
,lv
t
I
5.
1 &2 &3 &4
1 & 2 & 3 a 4 &
Count&Tap:
&2&
&
HEAD¡NG DOWN
Practice long tones on each new note.
H
U
\7
ÍIEJ
I
OOOIOOO-¡
o>u
6. MOVING
t
ON
-
UP
-\-
Count&Tap:1&2&3&4&
ã\
aa,
-
ÃÃ
-
t
1 &2&3&4&
1,1, 1,l, 1 I
I
Double Bor
I
indicares the end.
I
Ot a ptece o1 mustc.
Repeot
sisn :
U:ïï:ï"i^?,1?;i.;;:"
7. THE LONG HAUL
-
Double
Bar t
c
oooroood
B.
FOUR BY FOUR
ã\\\
Count&Tap:1&2&
).
,
t
,
Repeat Sign
t
a
a
&2 & 3/& 4&
&2&3&4&
l&
&3&4&
TOUCHDOWN
Bb
oooroood
I
O.
THE FAB FIVE
L¡
I
La
t- vl-,
Treble Clef
(c Clef)
indicates the
position of note
names on a music
staff: Second line
#
b
Noturql I
I
l.
t
L^
vv
ut,
vv
v
a
a
Time Signofure
Note Nqmes
indicates how many beats per measure
and what kind of note gets one beat.
Each note is on a line or space ofthe staff. These
note names are indicated by the Treble Clef.
=
=
is G.
Shorp
Flot
L:
{
-t
o
-
4 beats per measure
Quarter note gets one beat
raises the note and remains in effect for the entire measure.
lowers the note and remains in effect for the entire measure.
c.n."l,
a flat (b) or sharp
READING THE NOTES
(f) and remains in effect for the entire measure.
Comparethistoexercise t\,THEFAB
FIVE.
V
1&2&3&
2&3&4&
12. FIRST FTIGHT
I
I3.
ESSENTIAI ETEMENTS G¡UIZ
n
BbCD
Fill in the remaining note names before playing,
Eb
+?-
Notes ln Review
--f-
Memorize the fingerings
for the notes you've learned:
ooolooo¿ ooOlooO¿ oOolooo¿
oooloood
NG ATONG
ooolOoo¿
Gotothenextline. ¡
Double Bar
vf
V
Holf Rest
Hqlf Note
O4=2Beats
Beats
I
1& 2&
1&2e
RAP
15. RHYTHM
I
tl/
-I-
= 2 Silent
I
,
,
1&2&3&4&
Ctap the rhythm while counting and tapping'
r
I
1&2&3&4&
|
(TurtPol'Ar'?)
?lor ùñ Bb
Repeat
Sign t
|
1&2&3&4&
1&2&3&4&
1&2&3&4&
1&2&3&4&
THE HAIF COUNTS
1&2&3&4&
'rV
1&2&3&4& 1&2&3&4&
HOT CROSS BUNS
Breqth Mork
g.
n
l&2&3&4&
1&2&3&4&
Checkyourembouchure and hand position.
Take a deep breath through your mouth after you play a full-length note'
)
I8. GO TEtt AUNT RHODIE
I
1&2&3&4&
ESSENTIAL ETEMENTS
GIUIZ
American Folk Song
playìng'
using the note names and rhythms below, draw your notes on the staff before
)))
EbDEb
Whole Rest
Whole Note
Whole Rest
A Whole Measure
= 4 Beats
O
of Silent
0. RHYTHM RAP
-
---T-É-
Beats
1&2&3&4&
1&2&3&4&
Half Rest
hangs
a staff
from
line.
sits on a
staff line.
Ctapthe rhythmwhilecounting andtapping.
Clap
I.
1&2&3&4&
1&2&3&4&
l&2&3&4&
1&2&3&4&
1&2&3&4&
1&2&3&4&
THE WHOTE THING
1&2&3&4&
1&2&3&4&
Duet
2.
1&2&3&4&
l&2&3a4a
1&2&3&4&
1&2&3&4&
A composition with two different parts, played together.
SPIIT DECISION
- Duet
)
Vtttt
Ùllll
t
A
,
,
{
Key
Signoture
3.
(#)
ffats (b) throughout the
The Key Signature tells us which notes to play with sharps
"t
play
B's
B-flats,
and E's as E-flats.
Bb
all
as
the
Key
of
indicates
Your
Key
Signature
music.
-
MARCH STEPS
\ Play Bb's and Eb's
4.
TISTEN TO OUR SECTIONS
Percussion
5.
Brass
Percussion Woodwinds
IIGHTLY ROW
',6. ESSENTIAI
n
Woodwinds
ETEMENTS
GIUIZ
Drawinthe barlinesbeforeyou play.
Bra ss
Brass
All
E
C)
-
â
HIGHER
Hold the note (or rest) longer than normal.
- New Note
Fermata I
Practice long tones on each new note.
^
aoorooo,J
1¡>
28. AU CIAIRE DE tA LUNE
29.
4
o
E
French Folk Song
REMIX
Hormony
Two or more notes played together. Each combination forms a chord.
I
-ts
30. TONDON BRIDGE - Duet
English Folk Song
:I
*
É
t9
Ama
o
s
Austrian composer Wolfgang
age six, and lived during the time
tñan 600 compositions during his
child
m
based
(1756-1791) was a
n Revolution. Mozart's
ding a piano piece
ing professionally at
native. He wrote more
inkle,Twinkle, Little Star."
=
31. A MOZART METODY
32.
ESSENTIAL EtEfYtENTS
4
l_
GIUIZ
Adaptation
Draw these symbolswhere they belong and
write in the note names before you play:
'll
9
3.
DEEP POCKETS
- New Note
OoOlOoo¿
4.
DOODTE
Att
)
)
DAY
)
One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are
subtracted from the last measure.
Pick-Up Notes
&2&3&
4& 1&2&3&4&
f - forte (play loudly)
Dynomics
¡2.\
mezzo forte (play moderately
loud) It - piano (play softly)
Remember to use full breath support to control your tone at all dynamic levels'
rouo AND soFT
\
Clap-;/
, , ,
,
f
}8.
nyf -
rnf
JINGTE BEttS
Keep
your fingers close to the keys, curved naturally.
39. MY DREYDT use futt breath support at all dynamic levels'
J. S.
Pierpont
Traditional Hanukkah Song
10
Eighth Notes
Each Eighth Note = 1/zBeat
2 Eighth Notes = 1 Beat
Play on down and up toqs.
,r:
1&
40. RHYTHM RAP
Ctaptherhythmwhilecounting andtapping.
1&2&3&4&
41.
1&
2 & 3
Two or more Eighth
1
Notes have abeam
across the stems.
J1
Beam
il=fT;-;,
P\.''.
&
EIGHTH NOTE JAII'I
1&2&3&4
42.
SK|P TO MY tOU
[ONG, IONG AGO
American Folk Song
Good posture ìmproves
p
44. OH, SUSANNA
Stephen Collins Foster
f
4
o
Þ
t0
--
45.
Italian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very proficient on the piano,
viola and horn. He wrote "William Tell" at age 37 as the last of his forty operas, and its familiar theme is still heard today on
radio and television.
ESSENTIAT ETEMENTS GTUIZ
"tf
-
WIILIAM TEtt
Gioacchino Rossini
11
Conducting
{
--E
C)
-
Practice conducting this
two-beat pattern.
46.
RHYTHM RAP
Clap
1&2s1&2&
47. TWO BY TWO
Tempo is the speed of music. Tempo markings are usually written above the staff, in ltalian'
Andante - Slower walking tempo
Moderato - Medium
Allegro - Fast
Tempo Morkings
48.
tempo
tempo
HIGH SCHOOT CADETS
- Mcrch
John Philip Sousa
Allegro
f
49.
HEY' HO! NOBODY'S HOME
- New Note
Moderato
à-at
oooroood
mf
IG
)
Dynomics
50.
Crescendo (gradually louder)
CIAP THE DYNAMICS
Clap
5I.
PIAY THE DYNAMICS
p-f
Decrescendo or DÍmìnuendo (gradually softer)
12
SPOilIOHl
PERFOR
52.
'IANCE
PERFORMANCE WARM-UPS
TONE BUILDER
RHYTHM ETUDE
RHYTHM RAP
AURA LEE - Duet or Bqnd Arrongemenl
(Part A = Melodq, Part B = HarmonY)
George
R.
Poulton
Andante
,-E-__2
aJ
I
p
,"þ
A
-
54.
FRÈRE JACGIUES
- Round
(when group A reaches@,group Bbesins at@)
French Folk Song
13
PERFORNilANCE SPOTHOHT
55.
WHEN THE SAINTS GO MARCHING lN
E
Allegro
-
Bqnd Arrongemenf
Arr. by John Higgins
--l Measure number
I
rnf
o
OtD MACDONATD HAD A BAND
- Section
Feoture
Allegro
,lf
O
E
¿ ?¿ 2¿4
orE To JoY (from Symphony No. 9)
l3 ¡
Ludwig van Beethoven
Arr. by John Higgins
Moderato
{
"!f
E
"f
ÞeJ HanD RocK BtuEs
2nd time go on to meas.
-
Encore
14
A curved line connecting notes of the same
lte
59.
Play
=
2 Beats
FIT TO BE TIED
2 beats
óO.
pitch'
one note for the combined counts of the tied notes'
)
French-Canadian Folk Song
ATOUETTE
Dotted Holf Note
à. < oot
).-)
)
A dot adds half the value of the note.
2beats+lbeat
3 beats
I
)
1
= 3 Beats
&2&3&
ó1.
ATOUETTE
-
French-Canadian Folk Song
THE SEQUET
Pittsburgh, PA. He has become the most recognized
American composer Stephen collins Foster (1g26-1364) was born near
popular
during the California Gold Rush of 1849'
song writer of his time får works such as "oh susanna," which became
"Camptown
Races"'
nmãng his most well-known songs are"My Old Kentucky Home"and
É
o
F
6
--
62. CAMPTOWN
RACES
Stephen Collins Foster
Allegro
rnf
ó3.
64.
NEW DIRECTIONS
THE NOBTES
ó5.
4
- New Note
Always
use
To
ptay lower notes, blow softly and direct the airstream lower into the embouchure hole
a full airstream. Keep fingers above the keys, curved naturally'
'15
Conducting
{
-to
I
Practice conducting this
three-beat pattern.
66.
RHYTHM RAP
CIap
1&2&3&
l&2&3&
&2&3&
2
67. THREE BEAT JAM
l&2&3&
ó8.
1&2&3&
&
1&2&3
& 2&3&
d,
BARCAROTTE
1&2&3&
Jacques Offenbach
Moderato
"!f
.1875,
Norwegian composer Edvard Grieg (1 843-1907) wrote Peer Gynt Suite for a play by Henrik lbsen in
the year
before the telephone was invented by Alexander Graham Bell. "Morning" is a melody from Peer Gynt Suite.
- Music
used in plays, or in films and television, is called incidental music.
-
-Ç
{
C'
ã
69. MORNING (from Peer Gynt)
Accent
70.
Emphasize the note.
ACCENT YOUR TATENT
Clap
Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diverse
music features lively accompaniments by drums and other percussion instruments such as maracas and claves.
Music from Latin America continues to influence jazz, classical and popular styles of music. "Chiapanecas" is a
popular children's dance and game song,
71.
MEXICAN CIAPPING SONG ("Chioponecqs")
72. ESSENTIAT CREATIVITY
Latin American Folk Song
Compose your own music for measures 3 and 4 using this rhythm:
))
E
-t-0
{
C)
-
fTT)l)
16
4
o
E
-t-
Flof
Accidentol
A
Any sharp, flat or natural sign which
appears in the music without being in
the key signature is called an accidental'
73. HOT
IYIUFFINS
74. cossAcK
b
flat sign lowers the pitch of a note by a half-step' The
note A-flat sounds a half-step below A, and all A's become
A-flats for the rest of the measure where they occur'
- New Note
¡
Flat applies to all A's in measure.
DANCE
Allegro
f
75.
BASIC BtuES
Flat applies to all A's in measure.
-
I
4
o
g
New Key Signoture
-F
This Key Signature indicates the Key of Eb - play
all B's as B-flats, all E's as E-flats, and all A's as A-flats'
76. HIGH FTYING
I st
r-
llz
& 2nd Endings
the 1st Ending. Then play the repeated section
of music, s-tipping the 1st Ending and playing the 2nd Ending'
Play through
tAb
2!d
ttme
eÊ
o
l5
--
-
as
China. "Sakura, Sakura" was performed on instruments such
Japanese folk music actually has its origins in ancient
unique
The
flute'
years old, and the shakuhachi or bamboo
the koto, a 13-string instrument that is more than 4000
in this tonal system'
the
þentatonic (or flve-note) sequence used
sound of this ancient Japanese melody results from
77. SAKURA, SAKURA -
Bond Arrongement
Japanese Folk Song
Arr. by John Higgins
17
78. UP ON A HOUSETOP
Allegro
'rnt*u
'!f
Signature
Key
79. JOttY OLD ST. NICK -
Duet
E-
Moderato
A
*!f
See
80.
page 9 for additional holidoy music, MY DREYDL and JINGLE
THE BIG AIRSTREAIYI
BELLS.
- New Note
lBb
ooolooo¿
o>
8I
.
WATTZ THEME
./,'--.
Moderato
-
82.
AIR TIME
83.
DOWN BY THE STAT¡ON
Allegro
,lf
84.
ESSENTIAT ETEMENTS GIUIZ
Moderato
n
85.
*f
ESSENTIAt CREATIVITY
-f
tJsing these notes, improvise your own rhythms:
-
Franz Lehar
1B
n DAILY WAR,IIII-UPS
8ó.
TONE BUIIDER
87.
RHYTHM BUITDER
88.
TECHNIQg¡ 1¡AX
89.
CHORATE
use a steady stream of
WORK-OUTS FOR TONE &TECHNIQUE
air'
Johann Sebastian Bach
(Adoptedfromcantatal4T)
^
-
4
Theme ond Vqriqtions
C)
E
-l-
A musical form featuring a theme, or primary melody,
followed by variations, or altered versions of the theme'
90. vARlATloNs ON A FAMITIAR THEME
Theme
D.C.
9I.
ol Fine
1
(fee'- nay).
At the D.c. al Fine play again from the beginning, stopping at Fine
Fine means "the end"'
D.G. is the abbreviation fãr Da Gapo, or "to the beginning," and
BANANA BOAT SONG
Moderato
Variation
Caribbean Folk Sonl
19
d
Noturql
-;
o
-
A natural sign cancels a flat (b) or sharp (f) and remains in effect for the entire measure.
- New Note
92.
E
African-American spirituals originated in the 1700's, midway through the period of sfiery in the United States.
One of the largest categories of tiue A¡nerican folk music, these primarily religious songs were sung and passed on
for generations withoui being written down. The first collection of spirituals was publishedin 1 867,four years after
The Emancipation Proclamation was signed into
94. EZEKIET
=
?
C)
law.
=
sAW THE WHEET
African-American Spiritual
Allegro
f
rt
Slur
95.
A curved line which connects notes of different pitch. Tongue onlythe first note in a slur.
SMOOTH OPERATOR
\
96.
Slur 2 notes
- tongue only
GTIDING ATONG
J
Slur 4 notes
the first.
:--.
.-\
- tongue only the first.
Ragtime is an American music style that was popular from the 1 890's until the time of World War l. This early form of
"The Entertainer" and "Maple Leaf Rag."
;azz brought fame to pianists like "Jelly Roll" Morton and Scott Joplin, who wrote
Surprisingly, the style was incorporated into some orchestral music by lgor Stravinsky and Claude Debussy'
The trombones now learn to play a gtissando, a technique used in ragtime and other styles of music.
97. TROMBONE
RAG
Allegro
98.
>l
IlÍ-2. r¡
ESSENTIAT ETEMENTS GTUIZ
Andante
n
I
-t5
-{
o
-
D.C. al Fine
I
20
99.
TAKE THE IEAD
-
OOolooo¿
4
Phrqse
Ê
A musical"sentence"which is often 2 or 4 measures long. Try to play a phrase in one breath.
-ts
I
OO. THE COID WIND
I
O
I
.
PHRASEOTOGY
4
o
E
-ts
02.
I
write in the breath mark(s) between the phrases.
New Key Signoture
Mulriple Meosure Rest
This Key Signature
indicates the Key of F - play
all B's as B-flats.
The number above the staff tells you
how many full measures to rest.
Count each measure of rest in sequence:
SATIN TATIN
Allegro
4
o
F
16
=
I
German composer Johann Sebastian Bach (1685-1750) was part of a large family of famous musicians and
became the most recognized composer of the Baroque era. Beginning as a choir member, Bach soon became
-lhis
Minuet, or dance in
an organist, a teacher, and a prolific composer, writ¡ng more than 600 masterworks.
3/4 time, was written as a teaching piece for use with an early form of the piano.
03. MINUET
- Duet
Johann Sebastian Bach
Moderato
^rfr
'LH
,!f
04.
ESSENTIAT
I
CREATIVIW
Ê
4/4. Pencil in either time signature, draw the bar lines and
Now erase the bar lines and try the other time signature. Do the phroses sound different?
This metody con be ptayed in 3/4 or
play.
21
05.
I
NATURALIY
_\
-\E
Eb
I
-.5
{
o
-
Austrian composer Franz Peter Schubert (1797-1828) lived a shorter life than any other great composer, but he
created an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment), ten
symphonies, chamber music, operas, choral works and piano pieces. His "March Militaire"was originally a piano duet.
- New Note
I Oó. MARCH MltlTAlRE
I
Franz Schubert
Allegro
E
ooolooo¿
lO7.
THE FLAT ZONE
- New Note
ft
lDb
oootoooJ
o>
I08.
ON TOP OF OtD S'nOKEY
American Folk Song
Allegro
-t5
{
o
-
style of the blues, and it was first recorded by pianist Clarence "Pine Top" Smith in 1928,
one year after Charles Lindbergh's solo flight across the Atlantic. A form of jazz, blues music features altered
notes and is usually written in 12-measure verses, like "Bottom Bass Boogie."
Boogie-woogie
.
I
is a
BOTTOM BASS BOOGIE
- Duet
Allegro
I
B
.þl-
-
A
AJ
A , ?ç
B
I
t
I
at
I
-)+
22
Dotted Gluqrter
& Eighth Notes
r
J.
n
)=zeeats
2&
1&2&
<
A single eighth
note
has a
flag
on the stem.
I I O. RHYTHM RAP
CIap
1& 2 & 3 & 4
1&2&3&4&1&2&3&4&
II
I.
&
1&2&3&4&
THE DOT ATWAYS COUNTS
1 & 2 & 3 a 4'&
1 &2 &3 &4
&
1&2&344&
1&2&3&4&
,
II2. Att THROUGH THE NIGHT
D.C. al Finr
-!f
I I 3. SEA CHANTY
English Folk Son,
Alwavs use a full airstream'
I 14. SCARBOROUGH
FAIR
Andante
I 15. RHYTHM RAP
Clap
1&2&344&
1&2&3&4&1&2&3&4&
I
I
ó.
1&2&3&4&
THE TURNAROUND
1& 2s3&
4&
1 &2&3
ESSENTIAT ETEMENTS GTUIZ
Andante
rnf
&4&
1 &243&4&
- AUID LANG SYNE
1&2&3&4&
Scott¡sh Folk
23
PERFORN'IANGE
Solo with Piono
Accompqniment
SPOIIIGIIT
You can perform this solo with or without a piano accompanist. Play it for the band, the school or
your family. lt is part of Symphony No.9 ("From The New World") by Czech composer Antonin
Dvorák (1841-1904). He wrote it while visiting America in 1894, and was inspired to include
melodies from American folksongs and spirituals. This is the Largo (or"very slow tempo") theme.
I 18. THEME FROM "NEW WORTD SYMPHONY"
E -
Ãleasure number
l2el
Antonin Dvorák
sto*"r
2
p
Piano Accompaniment
-
-
@
slo*".
24
Great musicians give encouragem
register in the"Grenadilla Gorilla J
Iearn IiP slurs, a new warm-uP
t'
Pot
I 19. GRENADITTA GORlLtA JUMP No. I
I2O. JUMPIN' UP AND DOWN
l2l.
GRENADIIIA GORlttA JUMP No. 2
rc
ai
->
lc
ootooo
I22.
- New Nole
-
Higher
notàs
are easier when you aim your airstream higher across the embouchure hole'
JUMPIN' FOR JOY
123. GRENADILIA GORlttA JUMP No. 3
I24.
JUMPIN'JACKS
count each line
The distance between two pitches is an interval. Starting with "1" on the lower note,
interval'
the
of
distance
is
the
note
and space between the notes. The number of the higher
lntervql
É
o
E
2nd
-l
-Þ
6th-r
7th
{>
125. ESSENTIAI
n
5th-r
-l
I
{>
4th-r
3rd
ETEMENTS GTUIZ
Write in the numbers of the intervals, counting up from the lower notes.
l2nd
t
25
126. GRENADIILA GORlttA JUMP No. 4
í\
í\'
127.
THREE IS THE COUNT
128.
GRENADILLA GORlttA JUMP No. 5
129.
TECHNIGTUE TRAJX
t
30. cRosstNc
ovER
A trio is a composition with three parts played together. Practice
this trio with two other players and listen for the 3-part harmony.
Trio
I3l. KUM
BAH YAH
Moderato
- Trio
Alwayscheckthekeysignature.
26
the section of music enclosed by the repeat s¡gnsRepeat
'1st
but
(tf
and 2nd endings are used,they are played as usual
go back only to the flrst repeat sign, not to the beginning.)
-
Repeot Signs
132. M|CHAEI ROW THE BOAT
African-American Spiritual
ASHORE
Andante
I33.
AUSTRIAN WATTZ
I34.
Moderato
=-..
Austral¡an Folk Song
BOTANY BAY
Allegro
'4
C Time Signoture
C)
g
É
-F
Conducring
\
ì\
Practice conducting
this four-beat pattern.
135.
TECHNIGIUE
I3ó.
FINTANDIA
TRAX Practiceatalldvnamiclevels'
Jean Sibelius
r-.
2.-'
-
137.
E
ESSENTIAL
GREATIVITY
Create your own variations by penciting in a dot and a flag to change the rhythm of any measure
from
lòI
I
I
'
I38.
I
39.
EASY GORILIA JUMPS
TECHNIG¡UE
TRAK
Always checkthe key signature.
I40. MORE TECHNIG¡UE TRAJK
I4I.
GERMAN FOLK SONG
Moderato
llz
Ir.
,lf
-
142.
THE SAINTS GO MARCHIN'AGAIN
t43. towtAND
GORlttA WAIK
144. SMOOTH SAIUNG
I45.
MORE GORIILA JUMPS
James Black and Katherine Purvis
28
4
o
g
A scale is a sequence of notes in ascending or descending order. Like a musical "ladder," each
step is the next consecutive note in the key. This scale is in your Key of Bb (two flats), so the
top and bottom notes are both Bb's. The interval between the Bb's is an octave.
Scqle
--Þ
147.
CONCERT Bb SCATE
Scale
Steps:
4
1
2
Chord &
Arpeggio
o
g
-ts
When two or more notes are played togetheç they form a chord or harmony. This Bb chord is
built from the 1st, 3rd and 5th steps of the Bb scale. The 8th step is the same as the 1st, but it is an
octave higher. An arpeggio is a "broken" chord whose notes are played individually.
48. lN HARMONY Divide the notes of the chords between band members and play together. Does the arpeggio sound like a chord?
Arpeggio-------1
lr
o ----------1
l85358
13531
I
A p eggi
149.
SCATE
Scale
AND ARPEGGIO
Arpeggio
Austrian composer FranzJosef Haydn (1732-1809) wrote 104 symphonies. Many of these works had nicknames
and included brilliant, unique effects for their time. His Symphony No.94 was named "The Surprise Symphony"
because the soft second movement included a sudden loud dynamic, intended to wake up an often sleepy
audience. Pay special attent¡on to dynamics when you play this famous theme.
4
C)
Þ
t6
I
-
I50. THEME FROM "SURPRISE
I
5I
Arpeggio
.
SYMPHONY"
ESSENTIAL ETEMENTS GTUIZ
Write in the note names before you play.
-
THE STREETS OF TAREDO
American Folk Song
29
PERFORT'IANCE SPOÌITOHÎ
152.
SCHOOT SPtRtT
March Style
Soli
153.
- Bcnd Arrongemenf
W.T.
purdy
Arr. by John Higgins
when playing music marked Soli, you are part of
a group "solo" or group feature. Listen carefully in
"carnival of venice," and name the instruments that plai
the soli pãrira each indicated measure number.
CARNIVAL OF VENICE
- Bond Arrongemenr
Julius Benedict
Arr.by John Higgins
30
n DAILY WARIUI-UPS
I54.
RANGE AND FTEXIBITITY BUITDER
I55. TECHNIGIS¡
t 5ó. cHoRAtE
1f,4ìX
,1>
mf
4
o
lt6
--
WORK-OUTS FOR TONE &TECHNIQUE
-p
The traditional Hebrew melody "Hatikvah" has been lsrael's national anthem since the nation's inception.
At the Declaration of State in 1948, it was sung by the gathered assembly during the opening ceremony
and played by members of the Palestine Symphony Orchestra at its conclusion.
lsraeli National Anthem
31
Eighth Note
& Eighth Rest
I58.
=
7 --
112 beat of
112 beat
of silence
RHYTHM RAP
1&2a1&2&1&2&1&2&1&2e
1&2&1&2&1&2&
I59.
sound
EIGHTH NOTE MARCH
1 & 2 & 1 & 2 & 1 & 2 & 1 & 2 & 1 & 2'&
1&2 & 1 &2
e
Johann Sebastian Bach
I
óI.
R.HYTHM RAP
1&2&3a4&1a2&3&4&
1&2&3a4&1&2&3&4&
162.
EIGHTH NOTES OFF THE BEAT
1 &2&3&4&
I
ó3.
1&2&3&4&
EIGHTH NOTE SCRAMBIE
-
164.
n
ESSENTIAT EIEMENTS GTUIZ
1 A2&
3&4&
1&2&3&4&
32
I
ó5.
DANCING ÍYIEIODY
- New NoTe
oOolooo¿
4
o
h
6
--
American composer and conductor John Philip Sousa (1854-1932) wrote 136 marches. Known as "The March King,"
Sousa wrote The Stars And Stripes Forever,semper Fidelis,TheWashington Post and many other patriotic works. Sousa's
band performed all over the country, and his fame helped boost the popularity of bands in America. Here is a melody
from his famous El Capitan operetta and march.
166. Et CAPITAN
John Philip Sousa
Allegro
L
4
o
ts
1^
"O Canada,"formerly known as the "National Song,"was first performed during 1880 in French Canada' Robert
Stanley Weir translated the English language version in 1908, but it was not adopted as the national anthem of
Canada until 1980, one hundred years after its premiere'
-167. O CANADA
Maestoso (Majestically)
ó8. ESSENTIAT ETEMENTS GIUIZ - METER MANIA
n
Calixa Lavallee,
l'Hon.Judge Routhier
and Justice R.5.Weir
Countandctapbeforeptayins. Canyouconductthis?
33
Ciand¡b Tisn¿6b
YV
Enhormonics
called enharmonics. Your fingering chart on pages
46-47 shows the fingerings for the enharmonic
notes on your instrument.
169.
SNAKE CHARMER
I7O.
DARK SHADOWS
171.
CTOSE
C
D
E
F
GIA
C
B
Enharmonic notes use the same fingering.
5
E
{
-t
C)
-
On a piano keyboard, each
black key is both a flat and
a sharp:
Two notes that are written differently, but sound
the same (and played with the same fingering) are
Enharmonic notes use the same fingering.
Db/cfr
l¡
_\
cil
172. MARCH SIAV
Peter I llyich Tchaikovsky
Largo
V
f
173.
NOTES
"f
tN
D|SGUISE
Chromotic
Notes
I74.
HATF.STEPPIN'
Chromatic notes are altered with sharps, flats and natural signs which are not in the
key signature. The smallest distance between two notes is a half-step, and a scale made
up of consecutive half-steps is called a chromatic scale.
{
-E
C)
-
r
34
4
F
I
French composer Camille Saint-Saëns (1s35-1921) wrote music for virtually every medium: operas, suites,
symphonies and chamber works. The "Egyptian Dance" is one of the main themes from his famous opera
Samson et Delilah. The opera was written in the same year that Thomas Edison invented the phonogr aph-1g77.
C)
.--
175.
176.
EGYPTIAN DANCE
Allegro_
Warchforenharmonics.
Camille Saint-:
STwER MOON BOAT
Chinese Folk
Largo
"f?
German composer Ludwig van Beethoven (1770-1827) is considered to be one of the world's greatest composers,
despite becoming completely deaf in 1802. Although he could not hear his music the way we can, he could ,lhear',
it
in his mind. As a testament to his greatness, his Symphony No.9 (p. 13) was performed as the finale to the ceremony
celebrating the reunification of Germany in 1990. This is the theme from his Symphony No. 7, second movement.
1
o
Þ
t6
--
177.
THEME FROM SYMPHONY NO. 7
Allegro (moderately fast)
-
Duet
Ludwig van Beethr
A
a)
I
B
^1,
-
,-,-
^
35
Russian composer Peter lllyich Tchaikovsky (1840-1893) wrote six symphonies and hundreds of other works including
The Nutcracker ballet. He was a master at writing brilliant settings of folk music, and his original melodies are among the
mostpopularofalltime. Hislsl2OvertureandCopriccioltalienwerebothwritteninlsSO,theyearafterThomasEdison
developed the practical electric light bulb.
178.
CAPRICCIO
lTAtlEN
Allegro
r ft
a¡
-Ç
-{
o
-
Peter I llyich Tchai kovsky
Alwayscheckthekeysisnature.
Ir
-
V
"f
Ir.
179. AMERICAN PATROT
Allegro
il 2.
F.W Meacham
African-American Spiritual
V
81. ESSENTIAT EIEMENTS GTUIZ - SCATE COUNTING CONGTUEST
Ê
36
PERFORTNANCE
182.
AMERICA THE BEAUTIFUI
Maestoso
lxl
SPOilIOHI
- Bond Arrongemenl
Samuel A.War
Arr. by John Higgir
|7l
2
.tndante
Maestoso
183. tA CUCARACHA - Bond Arrongement
Latin Rock
-p
Latin American Folk Sonr
Arr. by John Higgin
37
PERFORMANCE SPOTTIOHT
184.
THEME FROM
Allegro
l8l2
OVERTURE
-
Bqnd Arrongement
-ã ã ããì ã@
Peter lllyich Tchaikovsky
Arr. by John Higgins
38
PERFORMANCE SPOTTIOHT
SO|O
w¡fh PiOno
performing for an audience is an excit¡ng part of being involved in music. This solo is based on Serena
in G Major, K.525,also known as "Eine Kleine Nachtmusik" ("4 Little Night Music"). wolfgang Amadeus
You an
Accompon¡ment I::i':
il-"]:I:tl":':1"1:lj1:,:1T.".nïl::1Ï'::il::Ti:ii:ï:T::::3
i,:""f1*
events.
school
and
community
other
perform
or
at
for
the
band
this
a piano accompanist can
I85.
EINE KTEINE NACHTMUSIK
Allegro
Fl
ute
Piano
- Solo
(concertEbversion)
tr
Wolfgang Amadeus Moz¿
Arr. by John Higgi
39
DUElS
Here is an opportun¡ty to get together with a fr¡end and enjoy playing music. The other player does not have to play
the same instrument as you. Try to exactly match each other's rhythm, pitch and tone quality. Eventually, it may begin
to sound like the two parts are being played by one person! Later, try sw¡tching parts.
SWING tOW SWEET CHARIOT - Duet
tA
BAÍYIBA
Allegro
- Duet
African-American Spiritual
Mexican Folk Song
,f
A
D.C. al Fine
A
ù
A
B
?-
40
RUBANK'SCALE AND ARPEOOIO STUDIES
KEY OF Bb
tnthis key signature,play attBb's andEb's.
l.
(
KEY OF Eb
l.
tnthis key signature,play attBb's,Eb's and Ab's.
41
RUBANK'SGAIE AND ARPEOOIO SÎUDIES
KEY OF F
tnthiskeysignature,play allBb's.
l.
KEY OF Ab
l.
3.
4.
tnthis key signature,play attBb's,Eb's,Ab's andDb's.
RIIYTIIII'I TUDIES
4i
RltYfHll,l sruDlEg
I
I
I
I
44
CREATINO TNUSIC
o
g
Gomposition
-l-
l.
ODE TO JOY
l.Question
2.
is the art of writing original music, A composer often begins by creating a melody
made up of individual phrases, like short musical "sentences." Some melodies have phrases that seen
to answer or respond to'Question" phrases, as in Beethoven's OdeTo Joy. Play this melody and listen
to how phrases 2 and 4 give slightly different answers to the same question (phrases 1 and 3).
Composition
4
Gl. AND
A.
2.Answer
3.Question
Ludwig van Beethove
4.Answer
Writeyour own"answer" phrases in this metody.
l.Question
2.Answer /.
3. PHRASE BUItDERS
write 4 different phrases using the rhythms betow each staff.
A
n) n rTn)
f))
))
4.
YOU NAME
IT:
Pick phrase A, B, C, or D from above, and write it as the "Question" for phrases I and 3 below. Then write 2 different,,Answers,,for phrases 2 and ,
l.Question
4
o
E
lmprovisqtion
Þ
5. INSTANT METODY
A
a)
^l
2.Answer
lmprovisation
is the art of freely creating your own
melody as you play. Use these notes to play your own
melody (Line A), to go with the accompanimenr (Line B).
45
Y,
.un mark your progress through the book on this page. Fill in the stars
as instructed by your band director.
27
26
25
4
24
ESSENTIAT
EIETNENTS
23
22
STAR ACIIIEVER
21
B
20
NAlvlE
9
19
l0
18
11
17
12
16
15
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
1
1.
12.
13.
14.
Page 2-3,The Basics
Page 5, EE Quiz, No. 13
Page 6, EE Quiz, No. 19
Page 7 , EE Quiz, No. 26
Page B, EE Quiz, No.32
Page 10,
EE
Quiz, No.45
Page 1 2-l3,Performance Spotlight
Page 1 4,EE Quiz, No.65
Page 15, Essential Creativity, No.72
Page 17,EEQuiz,No.84
Page 17, Essential Creativity, No. 85
Page 19, EE Quiz, No. 98
Page 20, Essential Creativity, No. 104
Page 21, No.109
N'IUSIC
14
13
15. Page 22, EE Quiz, No. i 7
16. Page 23, Performance Spotlight
17. Page 24, EE Quiz, No. 125
i 8. Page 26, Essential Creativity, No. 137
19. Page 28, No.149
20. Page 28, EE Quiz, No, 151
21. Page 29, Performance Spotlight
22. Page 31, EE Quiz, No. 164
23. Page 32, EE Quiz, No. 168
24. Page 33, No.1 74
25. Page 35, EE Quiz, No. i 81
26. Page 36, Performance Spotlight
27. Page 37, Performance Spotlight
28. Page 38, Performance Spotlight
1
I AN ESSENTIAT EIETNENÎ OF LIFE
46
FINOERINO CHART
FlUIE
tt
J-
lnstrument courtesy of
Yomaha Corporat¡on of America,
Eand and Orchestrol Div¡sion
o = Open
O = Pressed down
The most common fingering appears
first when two fingerings are shown.
lnslrunent
Geire Renrinders
Before putting your instrument back in its case after playing, do the following:
Carefully shake the water out of your cleaning rod.
.
.
'
'
Put a clean soft cloth on the end of the head joint.
Draw the cleaning cloth and rod through the middle and foot joints.
carefully wipe the outside of each section to keep the finish clean.
oootoood
.ooorooo¿?
ooo roood
o>
oootoooJ
oooroood
t9olfoor
oooroood
47
FTNOERINO CIIART
FlUlE
oooroooJ
OOOIOOO-r
o>u
oooroood
ooolooo¿
oooroood
ooo looo¿
o>
A#,Bb
e þct
oooroooJ
oooroooJ
oooroood
OOOlooo¿
E
{>
ooolooo¿
ooolooo¿
Gf,
Ab
+bo
A
CI
A#,
Bb
fiob*
ooorooo__¡
o>au
or
OOOIOOO,T
o>lu
OOOIOOO--¡
o>lu