Conductor's Guide ‘NEW EDITION ’ By Harry H. Haines &J. R. McEntyre Contributing Editor - Tom C. Rhodes M es ~ + B-32 |) SOUTHERN MUSIC COMPANY i | san antonio, texas, va29p Price 19.95 wee deMusical Terms Index mp 3 D¥— Bass Clef Sign 4 4 Time Signature a~4 beats in each measure, beach J note gets one beat. = Bar—Divides staff into measures, 6 GA? Flat—Lowers a tone "step. GB Sharp—Raises a tone % step GC —& Natural—Indicates that the note is not to be sharped or flatted, It cancels the effect of a sharp or flat Measure—Space between two bars, 7 ‘© Whole Note 8 Whole Rest 9 = Quarter Note 10 Double Bar—Morks theend of a section, llo3 Half Note 12 Half Rest 13 SD eighth Notes 14 2. Dotted Half Note 15 t 16 } Time Signature 3 beats in each measure breach ¢ note gets one beat. Time Signature ‘a~2 beats in each measure beach « note gets one beat, 16-A 3 17 gd Tie—combines two oF more notes — of the same pitch 18 =I repeat Dete—Repet ni seston Quarter Rest 19 d. Dotted Quarter Note 20 © > Hold or Fermata—cive extra time. Ba 21 HF ist and 2nd Endings Play Ist ending the first time then repeat strain and play 2nd ending. 22BF= Koy Signatare—Pits or sharp ced 23 24 25 26 27 28 29 oF NS Qse@avy at the beginning of a section, indicate that these notes are sharped or flatted throughout the section. Slur—Ditferent pitches joined by a curved line in which only the first note is tongued Fine—Finish D.C al Fine—Go back to the beginning ‘and play until you come to Fine. + Eighth Rest very soft soft moderately soft moderately loud loud very loud Repeat the preceding measure. Pick Up Notes—An incomplete meas: lure at the beginning: note values are usually taken from the last measure, © Time Signature—This means common time which is the same as 4 Time Andante—Moderately slow and smooth flowing. Allegro—Quite fast. Maestoso—Majesticaly. Cut Time—Same as 3 time. Means to cut all note values to half as long, Sixteenth Notes Sixteenth Rest Accompaniment—A part that sup ports the melody but is subordinate to it, Enharmonic—tTwo different names for ‘one tone, Breath Mark. cDivision of Beat A Breath Impulse Method For Beginning Band Classes BOOK 1A By Harry H, Haines Music Department Chairman West Texas State University Canyon, Texas And J. R. McEntyre Coordinator of Music Odessa Public Schools Odessa, Texas Contributing Editor Tom C. Rhodes cong tn ea a sow ss Eo *"intertational Copyright Secured All Rights feservedDIVISION OF BEAT Foreword DIVISION OF BEAT is a complete beginning band method written for music educators by music educators. ‘The method of instruction is based entirely on the Breath Impulse Concept. The book has been carefully developed and the material coordinated to achieve the maximum results employing the Breath Impulse Technique. ‘The co-authors of the book, Dr. Harry Haines, Chairman of the Department of Music at West Texas State University, Canyon, Texas, and Mr. J.R. McEntyre, Supervisor of Music for the Odessa IS.D., have scientifically developed a complete band method based on the breath impulse technique. DIVISION OF BEAT was field tested for more than a yearin thirty-two schools involving more than 3000 students. The tested results and ideas are incorporated in this method, which provides a well- rounded program of instruction, ‘The conductor's guide serves not only as a complete reference score, but also has additional teaching suggestions and aids to help the instructor enhance the over-all educational success of the band program. A cassette tape is included with each conductor's guide, anditis strongly recommended that thetape be used as a guide and reference throughout the use of Book One. The tape demonstrates a classroom situation and clearly outlines the teaching of the breath impulse technique. Excerpts from throughout the book are played on the tape. Of special importance are the live teaching sessions recorded in Lesson One. The cassette provides a real breakthrough in complete understanding of the use of the breath impulse technique. ‘The most exciting result of using DIVISION OF BEAT band method is the vast improvement of the weakest areas of development for the beginner—tone quality, intonation and rhythmic accuracy. Immediate improvement is evident from the start due to the unique technique of the breath impulse. ‘The body becomes physically involved by using controlled breath impulses and the foot to subdivide a beat. The involvement of the body causes the student to be much more aware of the rhythmic content of the note. The student easily develops the ability to play compound meters with much improved sight reading capability. As a result of using the breath as controlled impulses, the tone quality and intonation isimproved due to the increased amount of air putinto the instrument. This combination gives the beginning student, a solid foundation in two of the most important basic fundamentals of wind playing—rhythmic accuracy and tone quality. Therefore a beginning musician will develop and progress to.an advanced maturity level at @ much faster rate than when the traditional approach to band instruction is used. DIVISION OF BEAT presents a new concept and technique for teaching beginning band students. This is not just another method book; it is an entirely new concept carefully designed to provide a professional approach to the teaching of beginning band students. A sincere effort has been made to provide the music educator with a clear and precise new technique for instruction, the end result being the continued advancement of music education and music for the sake of music. Sincerely, _and one-sixteenth inch wide in the center. “Crow” the reed. It should be a double sound. If only high, the embouchure is too tight and/or there is not enough air pressure. Make sure the proper amount of reed is in the mouth for success with crowing, (Also, a non-crowing reed could indicate a bad reed.) Embouchure Suggestions: With lips together, open teeth as far apart as you can, Focus round as in whistling, Place lower lip near the tip of the reed and roll your lip gently over the bottom teeth. The upper lip reaches forward, almost touching the front wire. The netural overbite should be exaggerated. Look in a mirror. You should just barely be able to see the very edige of the red of the lower lip. Proper Method of Carrying @ Bassoon: Always hold on to the bottom joint. Hang bocal tip-first in the top of the bell. Always check to make sure the “pancake key” (low B) closes the “whisper key” pad when assembling the bassoon, ALTO SAXOPHONE TENOR SAXOPHON! 1. The upper teeth rest on the mouthpiece about % inch from the tip. The weight of the head should rest at this point firm- ly so that there is no problem of the teeth slipping on the mouthpiece. 2. The mouth corners should be pushed in, the lower lip up, and the lower teeth and jaw down, Example: the embouchure ‘wheel is a good example of the way the supporting muscles should surround the mouthpiece, with equal tension from all sides, 8. The lower lip should be above the teeth, in a rolled position supported by the chin and lip muscles. 4. The chin muscles hold the lower lip in this position so that there will be little pressure on the lower teeth. CORNET/TRUMPET Suggestions for Trumpet Embouchure are as follows: 1. The corners of the mouth should be firm against the teeth, but not overly tight. 2. The chin should be pointed, but not tense ‘8. The jaw should thrust out slightly; the amount of thrust is determined by the individual's over-bite. 4, Itis important that the lower lip does not slide under the upper lip. 5. The teeth should be separated slightly, approximately % of an inch, 6. Important! ‘The red of the upper and lower lip should be inside the inner rim of the mouthpiece. °F HORN 1. The comers of the mouth should be firm and flat against the teeth and gums. 2. The chin should be pointed and flat but not tense. 3, The teeth should be even and slightly separated (about ‘”). This may require that the jaw be thrust slightly forward, depending on the amount of individual overbite. 4. The lips should be slightly puckered, with the corners of the lips pushing in toward the center of the lips. This lip position should not be exaggerated, only a mild sensation of the corners moving toward the center is 5. The lower lip should be even with the upper lip and not allowed to slide under the upper lip. 6. Mouthpiece placement should be rather high on the top lip. A good approximation would be two-thirds up- per lip and one-third lower lip inside the inner rim of the mouthpiece. 1. The mouth is slightly puckered, not stretched to a wide grin. 2. The cheeks will be tightened as when one smiles (look for a “parenthesis mark” around the corner of each side of the mouth.) 8, The jaw should be thrust out slightly. 4, Separate the teeth slightly (IT IS VERY IMPORTANT NOT TO PLAY WITH CLINCHED TEETH!) 5. The most frequently found characteristic of the good brass embouchure is a “u-shaped valley” on the chin which is formed when the powerful chin muscles are tensed. 10LESSON 1 (Student Book - Page 4) This entire lesson is intended as a guide for activities to be explained and demonstrated to the student by the director. While performing, the student is encouraged to watch the director and not the book illus- trations. The authors believe that best results will be achieved if the teacher will approach this lesson using a Suzuhilike setting. The basis should be rote teaching using much imitation and repetition. FLUTE Starting on the Mouthpiece I. Make a Sound Place the head joint between your palms, plug end to the left; be sure the open end is completely closed off with your right palm. Your director will explain how to shape your mouth and where to place the lip plate (also, review the pictures and in- structions on the previous page by Dr. Garner). Blow gently toward the blowhole with the air stream ‘4 in the hole and % above the hole. o> Low Sound a High Sound Oo ° (Concert A) ° 3 (Concert Ch, ° Director Play Students Play Director Play Students Play Now try a sound with the mouth pipe open. Place the hands on the mouth pipe in a similar manner as you will later hold the flute. > rN ° ° Director Play Students Play OBOE Starting on the Reed I. Make a Sound Start with your reed properly soaked. Place the reed in your mouth as instructed by your band director. NOW, can you make this crowing sound by imitating your director? a a a ° ° ° Director Play Repeat this many times. Students Play ‘Try to buzz this sound as long as you can. (You may want to try to buzz longer than anyone else.) CLARINET Starting on the Mouthpiece I. Make a Sound Start with your mouthpiece (reed properly soaked and placed) and barrel joint, Place the mouthpiece in your mouth as in- structed by your band director. NOW, can you make this sound by imitating your director? (Director and student should produce concert F) 2 a 2 s 3s s Director Play Repeat this many times. Students Play ‘Try to hold this sound as long as you can. (You may want to hold it longer than anyone else in the clase.) uLESSON 1 BASSOON Starting on the Reed I. Make a Sound Place reed snugly on bocal. Holding the base of the boca] (cork or thread end) place reed between lips as instructed by your teacher and blow. (Student should produce 2nd space Ct) Reed should enter mouth at approximately an 85° angle to pro: file, NOW, can you make this sound by imitating your director? a > ° ° ° Director Play Repeat thismany times, Students Play ‘Tey to hold this sound as long as you can, (You may want to hold it longer than anyone else in the class.) Starting on the Mouthpiece I, Make a Sound Start with your mouthpiece (reed properly soaked and placed) and neck joint. Place the mouthpiece in your mouth as in structed by your band director, NOW, can you make this sound by imitating your director? (Director and student should produce concert A») m a a ° ° ° Director Play Repeat thismany times. Students Play Try to hold this sound as long as you can, (You may want to hold it longer than anyone else in the class.) CORNET/TRUMPET HORN INF TROMBONE BARITONE BASS/TUBA Starting on the Mouthpiece T. Buzz a Sound ‘Start with the mouthpiece in your left hand. Shape your lips as your director explains. Place the mouthpiece in the center of your lips (approximately % on the upper lip and ¥4 on the lower lip~-this may vary somewhat). Look at the picture of the lips and the mouthpiece ring on the previous page. Now, can you make a buzzing sound through the mouthpiece? N > ° ° ° Director Buzz Repeat this many times. Student Buzz ‘Try to buzz this sound as long 4s you can. (You may want to try to buzz longer than anyone else.) ‘Try to buzz. the same sound as your director: High Buzz High Buzz Low Buzz Low Buzz, fo o a ° ° ° ° Director Buzz Student Buzz Director Buzz Students Buzz. Now try this siren sound. Can you meke the best siren? ° oO, pr nl on mo ~° eel “oo 2LESSON 1 TI. Practice Pulsing ‘To practice pulsing, “hiss” through your teeth very loudly and with great force. Imitate your director. Can you “hiss” louder than your director? Director: Id Id > Students: fd rq > ee ee TIT. Pulse, the Mouthpiece Sound Now your director may permit you to Pulse this sound. Try to do this exactly as explained. Pulse Pulse: Hold your chin sti kkeep the air moving ° and the sound going. Director play C£Lery Students play IV. Put tt Together Your director will show you how to hold your instrument. Study the pictures on the previous page. V. Play Real Notes. Your director will show you how to finger these notes. F F & EB 6 ¢ Fate ‘oats Shoe B Cornet. 5 Tenor Sazophone| Bh Glannet Bs Alto Saxophone Horn in F ‘Trombone te Baritone B.C Brasoon Bear Tuba) = = Director Students Director Students —Director_-—=—‘Students, Play, Play Play Play Play. Play VIL. Tongue a Real Note (Student Book - Page 5) Director: Students: oe Pte Bells Oboe Bi Bh Chat | Alto Saxophone Repeat this many times; Sa = Horn in F ‘Trombone Barkowe B.C 5 Tongue: to oe oe ar MR: tn d= doLESSON 1 VIL. Pat Your Foot. Tongue the notes and pat your foot. Students: 9S 1. Pat your foot and say _ “down-up-down-up-down.” 2, Play the notes. = Bi Tenor Saxophone = Bi Claret 3. Play the notes and pat your foot (think “down-up-down-up-down”?), aa 4, Tongue the notes and pat your foot. _ Horn in F Trombone 7 Barker BC ‘Base tube) VIII. Play a Tune. Your director may now show you how to play a tune. (Suggestion: any three note tune, such as “Merrily We Roll Along” by rote.) IX. Pulse with a Good Tone. Count silently on the rests. . - Pat your foot all the time — even on the rests. (Continue to pulse 8 per note.) F F F F Pe Bais oo Bit Gannet Br Alto Saxophone Hora in F Trombone Borne BC Bis Base ba) Director Students Students Students X. More Rote Practice. Count rests silently, but pat your foot. _ 2 & nye on 3s Comet Bs Tener Saxophone Bs Glninet = Es Alto Saxophone Horn in F ‘Trombone eI Botton BC = Biome — = Baas (obs) a Director Students Students Students uMLESSON 1 XI. A Gooa Warm-up Exercise (Repeat b many ties) a Flue Balle hoe Bs Cornet, Fs Setopone Bt Alto Saxophone Horn in F ‘Trombone Berkone BC Bas (Tuba) Director: Students: XIT. imitate Your Director. Pulse # good tone. Pat your foot accurately all the time. (Continue to pulse.) ° a g g Silent Fie Balls Oboe 1B Reto Saxophone Bs Garnet Es Alt Saxophone Horn in F ‘Trombone Bellon be Base ube) Director ‘Students {foot pat] Students ‘Students “a i to Learn an a 2 BE =e Bass feble Time Bar Whole Measure Quarter‘ Double Clef Clef Signature Line Rest Note Ber a ee | 18LESSON 1 PERCUSSION: (Student Book - Page 3) How To Hold The Sticks There are two methods generally accepted by most percussion teachers—the traditional grip and the matched grip. Both systems are widely used and successful. The method chosen is left to the discretion of the individual teacher. Matched Grip ‘The snare drum sticks should be held as naturally as possible: a fulerum point is formed by grasping the stick firmly be- tween the thumb and the first joint of the index finger; the remaining fingers are then wrapped loosely around the stick—these fingers are used to control the movement of the stick (finger control), Finger control, combined with wrist and arm movement provide all the movements necessary in providing a complete dynamic and controlled range. Matched Grip, Left Hana Traitional Grip. Left Hand Matehed Grip, Right Hand ‘Traditional Grip. Right Hand Traditional Grip Method ‘The right hand position is essentially the same as the matched grip system, however, in the Left Hand position, hold the lett forearm level with the palm turned up at approximately 45° angle, Place the stick in the crotch of the thumb, as shown in the example, allowing the first two fingers to curl over the stick while the fast two fingers are bent under the stick forming a cushion on which the stick can rest. Keep the hands and wrist relaxed at all times. LESSON 1 (Student Book - Page 4) This page should be taught in perewssion class only This entire lesson is intended as a guide for activities to be explained and demonstrated to the student by the director. While performing, the student is encouraged to watch the director and not the book illus trations. The authors believe that best resuits will be achieved if the teacher will approack this lesson using a Suzuki-like setting. The basis should be rote teaching using much imitation and repetition, Prelimary Rote Exercises 6 The Ready Position I. The Stroke TI. The Tap The stoke is a loud beat (f— ff ). It is _ ‘The Tap is a softer beat (P— mf). It is a movement combining arm, wrist, and a movement combining wrist and finger finger movement. Saad movement only. . _ Different dynamics (volume) can best be achieved by varying the height of the sticks above the drum: by raising the stick height, the sound will be louder; by lowering stick height, the sound will he softer. 16LESSON 1 Adjustment of the Pad (student Book - Page 5) Adjusting the height of the ped or drum is best achieved by dropping the arms naturally to the sides, then raising them to a comfortable playing position, The pad height should be adjusted so it is about an inch below the tip of the sticks. REMEMBER; Always adjust the Pad to the player. Never adjust the player to the Pad. The Rudiments Rudiments are rhythmic exercises developed to aid improving technical ability. Each rudiment begins very slowly (open). Gradually the speed or tempo is increased (closed), then gradually the speed is decreased to the original tempo (open). SLOW (open) AS FAST AS SLOW (open) POSSIBLE (closed) I. The Single Stroke Roll: PJs lll didi ld ight Hand Left Hand R = IL. Technique Builders = Play at various tempos. a oJ Jd R L ome_rze_rze WD sestccke Sf) T=Tap (p—mf) 4me_ ore dre C rrect Mallet Stick Position Use the Matched Grip Method. SoLESSON 2 siden: Bouk- Page 6) Suggestion: Start each class with a warm-up using material from lesson 1 vos tame at re RGnge Fm Ter ne pocatd sageee cocied 1 Theirs Written Note Air-Breath Support! 2. Ada Breath Impule and Footbeat Repeat thie line many times, Play this line many times, Use variations such as teacher playlstudent play or solotelass, e (Suggested tempo J =60) Be = a; SSS SSS ee Bs Alto Sexophone ar = 4 = ora F ere : = Pe == — Gk Precron Beh quar eon on oe eg dd wonemme "vst 4 counts 4 counts ia $time in f time ptt ] 3 quarter Notes and Counting. See page 117 (Student Book - pose 3) for an explanation ofthe counting system used in thia pae 4d df tert Bele Oboe —— —— SS ones [SEES —— = Hom in F FE : z = =| ane = s 4 = WyLESSON 2 4 Tonguing the Air Stream ws.» ett we wo dd dg Weel) § Tonguing Correctly (Smoothly) Flute Ball Oboe Be Come Bs Tomer Saxophone | 8: Garnet > Alto Saxophone Harwin F ‘Trombone Baritone B.C Bassoon Base (ube) , Please observe correct sticking, a ih, ee Soe tar ta ma ae Sa ol aa te a me a me ae G More Quarter Notes and Whole Notes rue Bae Oboe Bh Comet Bh Tense Saxophone Bi Carnet Bs Alto Saxophone Hor in B Baritone 8. Base Tbe) Dre pot eet thet ea ea ca aa wr a eaTEACHER’S MANUAL ‘Suggested procedure (Lesson Plan) for use with this method, beginning with Lesson 2: |. Warm-up: Begin each class the same way each day with # warm-up. A. Lesson 8 Use linea IX. X, and XI from Lesson 1 B. Lessons 4, 5 and 6 ‘Ada line XII from Lesson 1 ©. Lessons 7, 8, 9 and 10 Use Warmup 1 on page 108 (Student Book - page 28). D. Lessons 11, 12, 13, 14, 15 and 16 ‘Add Warm-up 2 0n page 109 (Student Book - page 28. E. Lessons 17, 18, 19, 20 and 21 Add Warm-up 3 on page 109 (Student Book - page 2), F. Lesson 22 Add Warm-up 4 on page 110 (Student Book - page 28). G, In reviewing the book after BX, 139, add warm-up 5 (page 28). HL Cover assigned line material ‘Always count on pitch and tap foot prior to playing each line. IL, Select a representative small portion of the day's assignment for individual audition, Strive to hear each student individually each day. Iti recommended that students receive a grade ‘and a new chair position assignment every day for optimum motivation. IV. Instructions for assignment for the next day's class. LESSON 33 Gisdent Book -Page 7 Suggestion: Start each class with a warm-up. Use parts IX X XI from lesson 1. Por Gee Ben tome PAR oie Ret Flim har Rete? an 7 slower Tone ae Fie Bails Oboe Bs Cora, Bi Clarinee oO" Bb Alto Saxophone Horn in F ‘Trombone Bantone BC. Bisseoon Bessa)8 switcheroo Flute Bale Shoe Bs Comet, Bi Tenor Bi Carnet Bs Alo Saxophone Horn in F ‘Trombone Bertone Bc Base (Taba) Drone git diy pod til, i Keep tonguing legato (smoothly). QD Hale Notes and Half Rests Fine Bale Give Be Comme. Bi Fever Sexophone| Bi Clarinet Es Alto Saxophone Horn ia F ‘Trombone Barone BC. Bass Tube)LESSON 3 10 Who Wit Play in the Rest? Fue Bal Shoe Bs Comet Bi Tenor Saxophone Bi Garnet Es Alto Saxophone Mornin F Trontus Botte. bree Bassa Pereusionate mst learn tobe thythm experi! = — 44. 4. sd day 11 Quarter Notes and Half Notes \ oo Bs Comet BS Tenor Saxophone Bh Carnet Bs Alto Sanophone ‘Trombone Burtone BC. Basscor Base (Tuba) Drums12 Au Mixed up! frais Shoe Bs Comet Bs Tener Saxophone Es Alo Saxophone Trombone Barnone Bc = Hii Let dg How to become a good player... Tep foot, count and play every line! LESSON 4. sident Book-Pese Iti very important to start each class with a routine to build tone quality. ‘Suggestion: Use parts IX, X and XI from Lesson 1. Lear How to Clean Your Instrument Properly. wm Manin Mee “Thre aetna reasons forthe transposing of nstrumente 1. "Some instrament play beter nthe eye which they are bit CL 2 Weegee pla in ep having amma number of sarge sb Mab 13 the Third Note a Be eer Saxophoe] BeClarinet Bs Als Saxophone Trombone Baene B.C Besson Base Tube) DrumsLESSON 4 14 Three Tones Together Blaee ll Shoe Eten Bs Alto Saxophone Hora in F “Trombone iron Bc. Base ba) Drums NoTE: Explain counting and playing of eighth notes to percussion 15 the Echo slo class solo ches lo ass lo ee Bie alle Bice Bs Cornet Be Tener Saxophone Be Garnet Bs Alt Soxophone Horn in F ‘Trombone Bartae B.C. Bisoon Biss Tube) By rams ByLESSON 4 16 two Lines Together Play these lines in unison one ata time, then divide the class and play them as a duet, Fhe Balle Oboe Bs Cornet, Bh Tenor Sanophone| Bh Carnet Bs Alto Saxophone Horn in F Drums That Inport A properly lan nd propered here: Have music rope dstibuted an aly accnible ‘hath iwi be waned aking tor mio para godorra ese acc Deval reasoner Satay unl werner et io heen way tne ong hea 17 Flute Oboe Bs Comet Bi Tenor Soxophone| Bi Clarinet Es Alte Saxophone Horn in F ‘Trombone Baritone B.C Bassoon Baeet Tuba)LESSON 4 18 Lots o'Notes fae bas Shoe Bs Cornet B: Torte Saxophone B Cleat Es Alte Saxophone Horn in F Trombone Borstone BC Bass ube) Drums Work for legato tonguing style — long notes 19 who win Play in the Rest Again? Bais oa oo Bn BB Clarinet UF Bs Alto Saxophone ora in F ‘Trombone Banton Boss Tubal Don't puff out cheeks! 26LESSON 5, siudent Book -Pase 9) ‘Suggestion: Add to your warm-up routine line XII from Lesson 1. Every Note is a Pearl! 20 Going Higher Bale Bn saxophone BiClarnet BY Alto Suaophone Horn in F ‘Trombone Bato Re. Bao (Tuba) ‘Thoweht: Avoid the tendency to rsh he lat halfofamearare Forexample do notrashherdor ith countin4/4 ime ‘Thin, many Ues, wil help prevent sythme precaon pateme Divide the bat 211. righth Notes Are Easy = Pie Bais Shee Bi anor Saxophone Bi Cari Bh Alto SaxophoneLESSON 5 22 Eighth Notes with Quarter Notes B: Tenor Saxophone Barnet Bs Alo Saxophone Bers ba} Dididles, diddles everywhere! A diddle is two consecutive beats in the same hand, Drums ner Hin, Many isthe et 2nd ae cmbinatin neon rss instant ae ba They ca ave ely which eral Wigs the pch down cosy bes nono Rowen 1S ed a fons 23 tricky Second Count Balls Shoe BE ne Bi Glarnee Bs Alto Saxophone ‘Trombone Barone BC Bass Toba)LESSON 5 24 Third Count Mix-Up “Trombone Bantone Bc Base bl Drums 25 Finally the Fourth Count Fiue . Bs Cormt Benen Bi Garnet Alto Saxophone Bertone B.C, Bassoon Bass abe) Special Assignment: Before going to line #26, try to count and play Ist measures of 22, 23, 24 & 25; then do 2nd measures straight down, then 3rd measures . . . this is a great exercise in rhythm! 29LESSON 5 26 Rhytnmic challenge Fue Ball Oboe Ret Bi Glnee "1D Bs Alto Sexophone Horn in F ‘Trombone Boe Be ‘aba 27 our First Tune Flue Balle Oboe Bs Alt Saxophone Hora in F ‘Trombone Baritone BC, Bassoon Bees Tube) Short, mvdiusn and long dele Drom Keep the air flowing; work for lato tonguing style.LESSON 6. siutent Book -Page 10) Pass tert Bonet Always Carry Your Instrument 28 A New High Note Case With Lid Toward You. B Tenor Sexophs B Ser Saxophone 5 Alto Saxophone or in F 29 Three Beats Per Measure Fue Ott w Brcarn Beet Beate By Alto Sexophone Hora in P ‘Trombooe Baritone B.C. Bensoon Base Tubal Meet the double paradiddle. 31LESSON 6 30 three-Four Time Again Balls oboe BeGomet. Bh Chri By Alto Saxophone Horn in B ‘Trombone BRowe bc Bass Tubal ae ih 31 Two Beats Per Measure Frage iis Oboe st Bs Cornet, — 1) Tener Saxophone Bicharne Bs Alto Saxophone Horn in F Trombone Baritone B.C. Boas (Tuba) mm ee OY OY Ol 2LESSON 6 32 _ counting Notes Pay lines 32 and 393 in unison one ine at time then divide tho cass and pay them together a duct. Fue Belle One = Bi Gases Bs Alto Soxophone oem in ‘Trerbone Barone BC Bassoon Base Tuba) Drums 33° counting Rests bras Ohne Bi Fett saxophone Bi Giant Fs Alto Saxophone Hor in ‘Trombone Burkone BC. Basonon Bass bs) 33LESSON 6 34 Hymn Tune Bells Shoe Bs Comet, B: Tenor Saxophone Bi Clnot Bs Alto Saxophone Horn in F ‘Trombone Baritone BC. NOTE; Explain counting and playing of sixteenth notes to percussion, Flute ball Oboe Bs Comet Bi Tenor Saxophone BE Carnes Es Alto Saxophone Horn nF Legato tonguing will help you the most! 34LESSON 7 sstoiest Book- Page 11) Suggestion: Start each class with warm-up #1 (Page 28) 35. High Leap rraee Bal Bioe Bs Comat B Tenor Saxophone Bi Clneet By Alto Saxophone Hoenn F Trombone Baritone BC, Brewer Beso (Tube) ie : oan Deum faancvcclacacme Pam Make each stick sound the same. 3G Another New Note Flute Bas Oboe Bs Cornet, Bi Tenor Saxophone Bi Clarinet Es Alo xophone oe be ‘An even stick ight means an even sound Drums B Ey 35LESSON 7 37 twinkle Twinkle This line can be played together with all instruments except Tenor Saxes, Horns and Oboes. (Oboe - Key of Hb; Tenor Sax = key of F) ute Bas Gio By Tenor Saxophone Biclnet Es Alo Saxophone Horn in F Base ube) Deu ‘An even stick height means an even sound Fie Bells Oboe Ria By Ciainet Es Alto Saxophone Horn in FLESSON 7 38 The Tie Frate Bails Oboe Bs Cornet, B: Tenor Saxophone Bb Cisne ‘S Bs Alto Saxophone 39 Play It Again Sam Fisse Baie Oboe Bh Cornet Br Tener Saxophone Bi Clarinet > Alo Saxophone Horn in F Trombone Busivooe BC. Bassoon Base (Tuba) 37LESSON 7 40 Who Will Play on a Rest? BB Alto Saxophone Horn in F ‘Trombone Burtone BC. Baveoor Base (Tube) Drums ‘This ine can be played tgeter with all instruments except Tenor Saxe, Home and Oboes, ALL Lightly Lightiy (Ob Hey of Bos Tenor Sox key of Fite Ball Oboe Bs Cornet B Ferct Saxophone Bi Garnet Bb Alto Saxophone Horn in F ‘Special note to your director: It is suggested that tonguing style now be augmented to include @ medium marcato. 38LESSON 8 A2 Review All Notes Fite Bele Oboe Bs Comet Bi Tenor Saxophone Bi Clarinet Bs Alo Saxophone Horn in F ‘Trombone Eurone Bc. Bassoon Beso Tubal 43> Move Those Fingers Fie Bal Oboe Bi favor Saxophone Bh Clarinet Es Alto Saxophone Horn in F Trombone Barto B.C. Bassoon Bie tbe)LESSON 8 AA Fingering Mix-Up Oboe Bs Cornet B: Tenor Saxophone Bi Clsinet, ES Alto Saxophone Horn in F Trombone Beene Bc. Bassoon Baas abs) Drone A5 Fingering Challenge Fiute Belle Shoe By Clarinet "| By Alto Saxophone Horn in F “Trombone Birkone BC. Base (vba) 40LESSON 8 AG Fingering Fight Belle Oboe Bs Comma. Bh Tora Sexophone| Bh Es Alto Suxophone Hora iF “Trombone Baritone B.C Drums Suggestion: As a special assignment, go back and do the Ist measures of lines #43, 44, 45 and 46. Count and then play each "Ist measure.” Next, count all the Ist measures straight doun (without stop ping) and then play them straight down. Do the same for the 2nd measures (a ha! the counting ion't turitten out for you). And finally, count and play the 3rd measures straight down, AT Dotted Quarter and Eighth Notes Ente Ball Oboe Bs Comme, 1B Tenor Saxophone Bh Oana Bh Alto Saxophone Horn in F ‘Trombooe Bartone BC. Bassoon Base Tuba) Drums ight tee Baht et writen th Te Pe cece aLESSON 7A More Dotted Quarters Frove Baile Oboe Bs Cornet Bi Toate Saxophone Bi larnet, i Alto Sauophone Horn in F ‘Trombone, Barrtane B.C, Base Tuba-Sve Drums AB Dotted Quarter Again Blue Bale Oboe oo Tenor Sox 80 Bi Tent Saxophone Bi Garnet Bs Alto Saxophone Horn in F49 rote Bell Oboe Bs Cornet Bi Tenor Saxophone Name That Tune Tenor Sax St Bi Carnet Drums Proper playing position is important. LESSON 9 gstuent Book -Page 19) oagoer cocteed eowet ™ aLESSON 9 50 Playing Lower Fre Bs fon Sexophone BS Clarinet = Es Alto Saxophone Horn in F Dre Dene tenes 51. Caarinet Solo Piste Beli Oboe Bs Sonor Saxophone Bs Garnet Bs Alto Saxophone Horn in F “52 Fermata Fre Oboe Be Teor Saxoph B Garnet Es Alto Saxophone Horn in F ‘Trombone Baritne BE, Bassoon Base Tubel 53> Higher and Lower Ba ose Bs Cornet Bi Taner Saxophone Bi Guriet > Alto Saxophone Horn in F ‘Trombone Baritone BC. Basooan Base (ba) 45 LESSON 9LESSON 9 54 Moving Up and Down Bue bale oie BSc Bs Clarinet Bs Alto Saxophone Horn in F “Trombone Bekooe BO. Bane (Tabs) Drums 55> First and Second Endings tate Bale Oboe Bs Cornet, Be Teor Saxophone Bs Alto Saxophone Horn ia P ‘rombone Baritone BC. Basooae Base (Tube)LESSON 9 5G dolly Ole St. Nick ‘Trombone Baritone B.C Banooon Bae (Tuba) 57 The Hardest Line (o0 fer) Horn in F ‘Trombone Bisa Be. Buse aba) aLESSON 10 ‘The Key Signature Lesson (Student Book - Page 14) 58 «The Seale” Choe Tenor Saxophone B Carnet, & Bs Alto Saxophone Trombone, Barone Bc Base ba 3 : * “ a EL lhe ele AUNT AD ET de LEB 1 Ty D Another Scale Nor: Bapain acento pression, Pte ells Oboe Bromma Beene Bs Alto Sszophone Etec Bases Play the accented notes louder Hr erine iments memcan cmeee Remeam omeReL Ri MLAR | CREME 8Es Alto Saxophone Horn in F Bassoon Base (Tuba) Lit Lie a S Last Note Mystery 2 ¥ fH Bi Come, Bi Tener Saxophone B Carnet clar. 8va bassa Es Alto Saxophone Horn in F ‘Trombone Baritone B.C, Bswoor Bass (aba) Drums 49LESSON 10 ty G2_ Key Signatures Ehaee ba oiee Bh Cornet Bh Teno Bh Clana Et Alt Saxophone Hora ia B ‘Trombone Barone B.C Base ba G3 > Mervity with a Key Signature Flue Bal Oboe Bs Cort Be Tener Saxophone BE Clarinet Es Ato Saxophone Toate ser BET Cy,1, TT, JT, 2, fT, Gy ST. ae Steaua oar anaeiecrea” Learn a Key Signature Chant wo Sil ITTI Key of G, no ate no shape KeyorG, —Tehap Fhe Say hse char together out din clas. KeyorD, 2 horpa sharp C sharp KeotP! flab lt Key of Bi, 2 flats B flat E fat Key of Bs, 3 flats B flat E flat A flat (Later, your director will perhaps give you additional chants for other Keys) 50LESSON 11 sstedent Book -Page 18) Suggestion: Add warm-up #2 Student Book—Page 28) 64. sturs and Ties Bal Ghee Bs Cornet, Bs Fence Saxophone Bs Canine, ‘Se > Alo Soxophone Hom in F Tents Lata Person: Meet the Bus ( d La the aick bounce ely on each tap. (dor mare times) ame (llc dda aaa STEELE TETLESSON 11 65 sturring and Tonguing te Balle Shoe Ba Cornet, Tenor Saxophone| Bb Clarinet Bs Alto Saxophone Horn nF ‘Trombone Barone BC. a > (Tuba) 66 Crarinets Lower Fae f+ Bale Shoe oe Bi Clarinet Bs Alto Saxophone Horn in F ‘Trombone Baritone B.C Beno Bass TelLESSON 11 67 Echo the New Key Play lines 67 and 68 in unison one line at a time; then divide the class and play them together as a duet, Elate Ba Oboe Become Clarinet ) Alto Saxophone NOTE: Alto Sax is usually sharp on Ci. G8 1s the Echo Correct Fiae Bale Oboe Become Bs Clarinet Bs Alto Saxophone Horn in F Trombone Baritone B.C. Bassoon Base (Tuba)LESSON 11 69 Play Lots O'Notes ae Fuse balls Oboe Bs Cornet. Bi Tenor Sexophane| Bi Carnet Bs Alte Sexophaoe Horn nF ‘Trombone Baritone BC, Bassoon Basa Tob) = ARs, AB) 1 FiBL 4 FT Lydd day 70 Moving On Fie Bells Ohne Bi Come. Bi Garnet“ Es Alto Saxophone Horn in F ‘Trombone Barone Be, Base (ba) 54Bi Alto Saxophone Horn in F ‘Trombone Baritone BC. Bamoor ba) i Bs Alo Saxophone Horn in F Trombone Baritone B.C. Beasoas Bese fu) Drums Congratulationa! You're halftay through the Book! 55 LESSON 11LESSON 12. sstedent Book Pane 16) a 72. darcarolle in Taree Keys What Are Keys? 1&1 Fite Balt Ghee Bs Cornet, Bi Tener Saxophone BhGlaanet Es Abo Saxophone Horn iF ‘Trombone Bartone B.C Basooon Bas Tube) F, Drums 73. Same Song, New Key Flue Baile Oboe Bs Come, B: Tenor Soxophone| BE Clarinet Es Alto Saxophone Trombone Baritone B.C. Besa (ota) 56‘TA. Again, Another Key Prato Baile Bs Comet, Bi! Tenor Saxophone Bi Clann Bs Alto Saxophone Horn in F ‘Trombone Barone Bc. "75 Name the Notes (Watch the Key!) Fite Bell Shoe Bs Comet, Br Fewer Sexphon Bs Alto Saxophone Mornin F “Trombone Peon BO Base (Tube) Drums LESSON 12‘LESSON 12 76 More Notes, New Key Fite Bas Oboe Bi Cort sone Bi Garnet Es Alto Saxophone Horn in F ‘Trombone Bettone 8, Beswoos Sem (fube) Drome 77 Say Chant, Name Notes Trombone Barton B.C. Bussooe Bisa (Tubal Drums NOTE: Alto Sax is uaually sharp on A above the staff. 58LESSON 12 By Alto Sexophone Horn in F ‘Trombone Baritone B.C. Basooor Base (ube) Es Ale Saxophone Horm nF ‘Trombone Bertone B.C, Bareoos ‘Base (Taba)LESSON 12 80 Cart of Our Boys Will Shine Balls Oboe Bs Corot, Bs Tener Saxophone BCinnet Ps Alto Saxophone “Trombone f » Boone Bc, Bassone Biss ibe F ne om fp gab DL DL ED Dds GL dd EE Dy Here's help! On page 111 (Student book - page 30), practice rhythms #43-72. They'ce lots of fun! LESSON 13 siden: book-Page ===. Le — 81. Going Higher has Oboe Cornet Bicince Bs Ako Saxophone ‘Trombone Baritone B.C Bison Base Tuba) 60LESSON 13, 82 Higher Ctarinets a Pte = Bais Oboe Bs Cornet Bi Tenor Saxophone Bi Cunnet Bs Alt Saxophone Hora in F ‘Trombone Baritone B.C Bassoon Basa ub Fp 5 SFA Pome TALHERERL Thought! The eouping tgether of tones that Balonst 8 musical ought is knows a asin This mle «ht Treniin contin ai ome hisimpies a 83> ciarinets Higher Still Bs fg = st OE aay ——— ae SS Q ) : h i, ed = ition ft ty Horn in F eee p= : = = = — = 4 4 = = Writing Real Roll! Let the stick bounce freely on each tap. aLESSON 13 84. Dedicated to Clarinets Fisce 2 Bs Comet, Bs Tenor Saxophone Bi Gunna Bs Alta Saxophone Horn in F Trombone Baritone BC, Bresoon Breet) ‘rought- The stone ofthe phrase i often srestd sigh in oar to mark the begining of «ne en. 85 clarinets Sometime Squeak Ply lines 85 and 6 in union one line at time then divide he class and play them ogeer as a duet. fr eee els 2 Oboe solo Bs core. Bb Garnet > Alto Saxophone Horn in F [a ‘Acontedparadidle, both single and double ae 2b 2 an aLESSON 13 86 Accombeiment Fie Bale Oboe BS Batenceom Bs Alto Saxophone Horn in P epee ino On fhm impo in apn tet of eatin tans hole of 87 saints (and pick-up notes) s Bute — Bs ener Serophone Bh Clarinet Bs Alto Saxophone Hora in P ‘Trombone Baritone BC, Ba Base Tube) Drums £ 6LESSON 13 Bs Corn B: Tenor Saxophone B) Carnet Bs Ako Saxophone orn in F 88 Slurs Fate Bal Shoe Bs Cornet, Bi Tenor Strophone| Bi Curinet Bs Alto Saxophone Horn in F Barone B.C Bass Tuber JF - LESSON 14 Dap Ly, Ly, Saka? g ‘An incomplete measure? (Student Book - Page 18) BULESSON 14 Fiote Bells Oboe Be Conn. B: Tenor Saxophone! B Claret Bs Alto Saxophone Hora in F ‘Trombone Betane B.C Bresoon Bese Tube) a =S--ccoS Ss Drums 89 ciarinets Can't Play This Now (Later?) Fate Bell Oboe BS Bs Clarinee Bs Alt Saxophone Horn in F ‘Trombone Bertone B.C Bassoon Bese (Tube) 65LESSON 14 90 Keep It Smooth Fioe Bale Oboe acum ; Bt phn| EE Arie = _ omnes ie - — & = Fontan ——— e pees [iar = = = EE Rew ; I - co t+ t t a tt munca tm Carina — sight hand down! Starestion: f'n recommend that orinet players keep righthand down when playing thi cercine This wl ip cstng te break ae wel asimpeovie the ichorhetvoateoea Sivek Sent shar. = cane, B Ter Saxophone Fs Alto Saxophone orn in Drums 66LESSON 14 91. (om) Pa (Com) Pa Play lines 91 and 92in unison oneline ata time; then divide the class and play them together ae « duet. Oboe = B Clarinet Bs Alto Saxopbone Horn in F = = ‘Trombone Revove Bc Bass Tube) ete eae pea eee 7 92 00m (Pa) Com (Pa) i By Comet B: Tenor Saxophone Bi Carnet > Alto Saxophone Barone B.C. Baca Base tTubal erLBSSON 14 93 Rouna Erte Baits Oboe Bs Taner Saxophone Banna Bs Alo Saxophone Trombane Birtone BC Bissoos Buse (Tubs) 94. Michael Row the Boat Ashore Flute Balle Oboe Bs Cornet, Tenor Saxophone Bi Carnet Es Alo Saxophone Horn in F Drums ‘Are you counting the firet two notes correctly? 68LESSON 14 95 twinkle Twinkle with Harmony Melody Fine Eluee Bal bee Bs Cornet B: Tenor Sexophone| Bi Clarinet Bs Alto Saxophone Hora in F “Trombone Bane B.C Base Tuba) "Thoueht Tehas been ial ssi" a wot 0 much what a musi ongdnzaion dns. at how i done” Accompaniment Oboe Bs Corma, Bi enor Saxophone Bs Alto Saxophone Hor in F “Trombone Bartone B.C, Barsoae Bass (Tuba) el Peciereaaytt‘LESSON 14 Meload Fite bee. Bi Cornet, Bi Tenor Sezophon | Bh Garnet Bs Alo Saxophene Horn in F ‘Trombone Bantone BC. Bassoon ‘Base (Tubed Bs Alto Sexonbone Horn in F ‘Trombone Baritone B.C Bamsooe ‘Bane (Tube) 0 DC. al FineLESSON 15 student Book- Page 19) Time Signature Lesson A traditional explanation is as follows: ‘Top Number = Number of counts in a measure Bottom Number = The kind of note which reesives one count (similar to the bottom ‘number in reading fractions, 1 4 = quarter note; 8 = eighth note; ete.) QUESTIONS: {time = _4 counts per measure, Quarter note receives 1 count 4] time = counts per measure, note receives 1 count. [time = counts per measure, note receives 1 eount. SUGGESTION: Make up some time signature and dril for fun 936 count and Play git, TT 4d dT 44 \ TyL. ml 97 For Fun Fre By Alto Saxophone Hors in F ‘Trombone Bartone B.C. Bass (Taba) Drom nLESSON 15 Fiore Bs Cort By enc Saxophone Bs Garnet > Alto Saxophone Trombone me pg TD dy ELEMENTS OF EXPRESSION ‘These are nine elon pon which expresin in natemenal sera They ae 1 Rhy 2 Meloy Tiaemony Bick’ br Regter 6. Penbwe "3 Phrssng” Tempo 8 Bymamice 98 Down in the Valley bce Bs Coret Bs Tener Saxophone Bi Clannet Ev Alto Saxophone Hern in F ‘Trombone Bontene Bc Bass faba) Drums nLESSON 15 99 Row Row th’ Boat (Round) we _ oa = = eet sates HR fe Horn F eas = eo : = rm EAE = a a whl Each eighth note can be divided into two equal sixtzenth notes. = pfu pe Fine bale Shoe Bs Cornet, By fener Saxophone Bi Gite, Alte Saxophone ‘Trombone Borne BC, Besaat Base fobs) Drums 3LESSON 15 100 East side-West Side Melody Fite Bale Bs Core Be Tete Saxotone| Bs Alta Saxophone “Trombone Bertone Base Tube) ruts ‘Accompaniment als Choe Be Tenor Sxophone Alto Saxophone Horn in F ase "Tuber "4LESSON 15 Bs Alto Saxophone Horn in F “Trombone Bitone BC, Bass (rubel Ball Oboe Bs Cornet, Bt Tenor Saxophone ES Claoee Bb Alto Saxophone Hom in FLESSON 15A_ cstwéent Book - Page 20) Time Signature Lesson (and a suggested new way to explain time signatures) ‘The time signatures listed on the previous page are explained in terms oftheir traditional definitions. (Sometimes this is referred to as "simple time.”) A lot of music today, however, makes it necessary to explain time signatures in 8 different way. One different way to do this isto group three eighth notes into one beat (example: {Jq =J., 0. dotted «quarter becomes the note that gets a beatin fat time.) Combining several counts into one larger beat is sometimes called “compound time.” For this reason, itis important that you learn a different way to understand time signature. Itisas follows: ‘Traditional Explanation: 3 counts per measure and an eighth note receives 1 count. Different Explanation: = 3 eighth notes or their equivalent in each full measure. Does this nelp? Try it out to see how it actually works! For each of the lines on this page (which may sound very familiar) try to tap your foot, count and play using only one beat per measure, three breath impulses per beat. The counts have been written under the first few measures to help you. You may have more fun and these lines might sound even better to you played one beat per measure. Now play this entire page in one count per measure. 96A count and Play jp 97A ForFun Lines 97A - 100A are identical to lines 97-100.) Fue Bells Sine Bs Cornet, 'B Tenor Sosophone| Bi Carnet By Alte Saxophone Horn nF ‘Trombone Barone B.C B Bisa Tuba Drums 76LESSON 16 ssuient50ok-Page20) Suggeaion: Add Warmup 63 Student Bookp 25 Dynamics: Can You Name 6 Levels? 101 Asconcere Scale in j Time QU ae Fue Ball Shee Timur Sox Sra Bs Comet 5) Tenor Soxophone| Bclernet v > Alo Sexophone fF Can you cont ed psy thin? mage? 1O2 ss concert sone # Fine Balls ote foe Sa 0 a Bs Core, EE Fe Snophone Bs Alto Saxophone F Trombone Baan 8, Bassoon Bose) a Ali ut dtferene. Drums Can you count and play this 2 ways? all ner one bea! per measure. Youll be surprised how quickly you can do this (ond howe ‘Suggestion Now go ack ie Loon and play Hroagh the book apt counting and playing smudh Stier many ine sound when played at. n103. vesr, Dear! d= 60 Fate als Oboe Bs Comme 2B: Tenor Soxophone| Bs Canine, Br Alto Saxophone Horn nF Trombone Baritone B.C. Bees Toba) Accompaniment Brute Bale hoe Bs Cornet 1B Tenor Soxophone| BE Clanet Bs Alto Saxophone ‘Trombone Bantone BC. Bi Bas (faba) LESSON 16Flute ally Oboe Bs Teno Sexoph Bh anne Bs Alto Saxophone Horn in F Droms Fiase Ball Oboe En Ree By Alto Saxophone Horn in F ‘Tropbone Birtone 0, Basoat Bane (Tube) 9 LESSON 16LESSON 16 104 Dona Nobis Pacem J = 60 Fie bate Sine Reon Trombone, a one B.C = pd DO ly ‘Thought Too many times orzapzations perfor that areinproperly elancd-cither th a : br the are barn underton mach seeumpariment The woompaninent of te soma Flare Bale Shoe Become Clarinet ‘Trombone Herone Bc Bren tbs) ‘Some lines will always sound better when played slowly, 80LESSON 16 Flste bal Btwn Bs Charnet 2B Alo Saxophone Horn in F Drume [Note to Director: The use ofthe following supplemental lessons is optional. However, the ational units Wi rovide the stadt with expanded class time and will inereae the learning process f basic music fundamentals, SUPPLEMENTAL LESSON I ‘The “Waltz Time” Lesson (Student Book - Page 22) A. ‘Scale in % Time Fite Oboe Bi comet Bs Tene Saxophone ECan Bs Alta Saxophone Horn in F ‘Trombone Bertone B.C, ub Drama 81B. Scale in Waltz Time 1=60 Frate Bale Oboe 1B: Comet B Feror‘sexophone| Bi Claret > Alto Saxophone ‘Trombone Baritare BC, Bassoon Bis Tube) Bi Cort Bi Tener Sexophone Beane Es Alto Saxophone Horn in P ‘Trobooe Bertone BC Bass (Tube)Bale oboe Bs Comet, B: Taner Saxophone Bane Bs Alto Saxophone Horn nF Trombone Bartaoe 8, Bacooon Bree Tobe) Drums D. Bear Went O'er the Mountain Balls a Ghee Bh fora BE Clarinet Bs Alto Sexephone Horn in F “Trombone Barone B.C, Bucose Base Tobe)Phase Bell Shoe Bs Cornet 1 Tenor Saxophone Bh Carne {8 Alt Saxophone Hora in F ‘Trombone 2 Baritone B.C Bacooge Base Tube) E. Sweet Betsy From Pike Melody —= AccompanimentSUPPLEMENTAL LESSON IT Some lines with Two Impulses (Student Book - Page 23) ‘Some lines with Three Impulses E uct Part» Fue ats Oboe B Teor Saxophone Bs Alta Sexophone ‘Trombone Berkene Bc Baar TubalG. Duet (Part 2) Fre Bais Oboe Br Seer sarophone Bh Channa Es Alto Saxophone Bve bassa Hora in F ‘H. Helping Clarinets Ewe Bue Oboe Bs Cornet BE Seophne 1 Alto Serophone Horn in F ‘Trombone Betton RC. I a.L. More Help For Clarinets Fie Ball Oboe Bs Cor, Bi Tenor Ssxophone BiGunnet 1s Alto Saxophone orn in F Trombone ‘atkene BC Bo abe) Drom J. Band Played On 1=60 nase Es Boot BClaseee "| Es Alt Saxophone ‘Trombone Baritone Bc Besson — Base Tuba) Druses arK. Sidewalks of New York Melody AccompanimentFie bali BET an BEES > Alto Saxophone ‘Trombone Bertone BC. Bese uber } Drums i M. Dotted Quarter Notes Flute Sooo Bi fener Saxophone Bi Claret Bs Alto Saxophone Horn in F “Trombone Bertone BC, Beoat Bess abel = 1. b, Z L Ld,NN. The First Beat ~ Fite bel Oboe 7 BbClannet Br Alt Saxophone orn in F ‘Trombooe Baritone BC, O. The Second Beat Ball hoe Bs Covet, B) Tecer Saxophone] Bi Carne Bs Alo Saxophone Trombone Bortone B.C Baesoon Baas Tube) Droms . dude dd b ; ; 91P. Te Third Beat Bal Oboe By Alto Sexophone Horn in F Trombone Borstne BC Beso Hane Tubey Q. West Texas Song Metady ma 2SUPPLEMENTAL LESSON IV. Building Range and Technique (Student Book - Page 25) R. Duet (Part) Flue bois Shoe Bi Corot, B Tar Ssopone > Alo Sarophone Horn in F ‘Trombone, Barone B, Base Tube) DO FETT 0 A Ty mn 93S. Duet (Part 1) Fraee Bris oho Bs Comet Bb Tenet Saxophoe| Bh Carnet Es Alo Saxophone ‘Trombone Baritone B.C Bass Tube) n So Drums \ 'T. Basic Technique Bells Shoe Bi Comet Br Tener Saxophone Beate Bs Ato Saxophone ‘Trombane Baritone B.C, Be Bess (Tube)U, Building Technique Fie Bails Oboe Bi Fone Saxophone Bilan Br Alt Saxophone Horn in F ‘Trombone Baritone B.C Buss Tube) Drums V._ On Top of Ole Smoky ( 60, in one) Fie — Bele Shoe E Bi Tenor Sexopbone Bi Carinet Bs Alto Saxophone Horn in PAlt Saxophone = eS SS 3 on ett DI a Ww. aut Side, Woet Bde 4=60LESSON 17 _ ‘stutent Book - page 26) 105 b. Concert Seale in j Time Bells Shoe Bi Comet. Bi Tenor Sexophone| Bane E> Alto Saxophone Horn in F ee A short rol inj time, am orLESSON 17 106 bs concert Scate in § Time Flite Balle Oboe Bs Cornet Bs Tener Saxophone Bs Cornet Bs Alto Saxophone Horn in F ‘Trombone Barone Bc, Bassoon Base Tobe) Drums 107 chopsticks _ Bore. Bi larne Bb Alto Saxophone Hora in F ‘Trombone Baritone BC. Bass Tube) F Drom ¥LESSON 17 107 Brute Bas Oboe Bs Cort, [BFener Saxophone Bb Chnnet Es Alto Saxophone ‘Trombone Baritone B.C Bassons Bess (fot Droms 107A triplets Et BeClrinet "| Alto Sexophene Hora in P ‘Trombone Baritone B.C Bane (aba) DrumsLESSON 17 108 Pop Goes the Weasel Oboe Bs Cornet. Bi Tenar Saxophone| Bh Clnnet Es Alto Saxophone Beteose Bose (obs) Pop! = p l Ld pL by . Important 6/8 sticking Genera Hint HOWTO FIND THE CORRECT TEMPO 1, Metoname marine! d-7, 4. Train 2 Tempo artoodexresians 1 Tidiia adeement of ego resulting 5. Moot from thee of man 109 Dottea Halt 1 Count 110 Dotted Halt 2 Counts 111 Dotted Halt 3 Counts Fie 36 2582 Bais one Seen ewe Alto Saxophone ora in F ‘Trombone Baritone B.C. Be Bese ba) 5.LESSON 20 Beals Shoe BeGomet Bs Garnet TP Horn in F Trombone Basooy Buse ube) Droms Fite Ball Ghee Bs Cornet, Bi fence Saxophone Bi Garnet Bs Alto Satophane Horn in F Drums 116LESSON 20 130 Long, Long Ago Melody . ie Frute Balls Oboe BiG BrClannet 7" Es Alto Saxophone Horn in F Drums Fae Bale Gos Bs Cormt B: Geter Sexophone| Bb Choe Bs Alto Saxophone Horn in F “Trombone Burton Rc. Biseooe Base (ube) Drum Practice “more rhythms” on page 31 ~ this will help you even more, 47LESSON 21 (Student Book - Page 30) 131 sixteenth Notes Have Finally Arrived Frute Bale Shoe Bs Comme. B: Tenor Saxophone| Bilan Horn in P ‘Troebone Barone B.C Baoan Bes Tub ‘The Double Stroke Roll. Spit the 16th notes into two equal notes by bouncing thestick just twicein cach hand, ‘THE NUMBER OF BEATS IN 4 MEASURE ‘Thought Asthe empa bese more rapid. decrease the umber f beats Astempo becomes slower increas the mamber 1 sate ao a the sume time slaborate the beat soa to express mae he idea of steady forward moverent 132 More sixteenths Pie Bats Shee Bs Comme Bt Tenor Saxophone| Bh Clarinet > Alto Sexophone Horn in FLESSON 21 133 Love Those Sixteenths Fhue Ball Oboe Bi Tenor Sexophon Beer * Bs Alto Saxophone Hom in F “Trombone Beko Bc Bano (Tuba) Drome aWEtaLinnEDRRT 134. sixteenths Forever Eiste Bate Oboe Be enor Saxpho Bs larnet "| Bs Alto Saxophone Horn in F Trombone Barton B.C. Bassoon Base (ube) 9LESSON 21 135 Ten Little Indians Flute bal Oboe Bs Comet Bi Fore Saxophone Bi larnet Bs Alto Sexophone Trombone, Bowe Be Base (Tubs) omy ged Remember, you should hear only 5 beats in each rol. PROGRAM MAKING. ‘Thoapht When panning concert program, fv important ponte mast be tken ints consideration They ae Vane ena af poem E Uae 8. Adapt tte 136 iitte Brown Jug Bells Shoe Bs Cornet Bi Tener Saxophone | Bi Gantet Eb Alto Saxophone Horn in F Trombone Boone’ Broo Bass ua = (9.Stroke Roll) 120LESSON 21 137 _ Dixie (is Too Hard for This Book?) Fae Bale hie B Cornet Be Teitr Sexophone Bs Alta Saxophone Horn in F ‘Trombone Bartone BC. Besson Base Tbe (8 Stroke Rolls) Drums Lad ‘This lin is too difficult for this book. Can you play it? LESSON 22 (Student Book - Page 31) 138 Running Sixteenths Fuse Bale Oboe Bs Cornet Br Clarinet Bs Alto Sexophove Hora in F ‘Troesbooe Berane Bc Baer tfube) (9-Stroke Roll) (07 Stroke Roll) Drums 121LESSON 22 139 same Thing in Cut Time Flue Bale Oine Bicone By Clarinet E> Alo Saxophone ‘Trombone Borstone B.C Besson Bess (Tuba) Deum ‘THE BIG PAY-OFF! Now that you can count and play 8th notes in ext time (which are really sitenth notes... right go back through the book and play al ofthe {lines which contain 8th notes and do them in cut {ime Top fot, count and play every lin; yout bean expert i DIVISION OF BEAT! 140 Witiam Tet Alle Flare Bale Oboe Bi Toner Saxophone Bi Carnet Bs Alto Saxophone Horn in F Topbone Button B.C. Bussoor Base Tube) 122LESSON 22 141 Hilo, Nobody Home (Round) ' Fhe Bell Oboe Bs Comet. Bh foo Bh Carnet Bs Alto Saxophone Horn in F rr rams es MOST COMMON MISTAKES IN General Bint PHRASING AND INTERPRETATION “Taking a breath inthe mide of phrase Dividing «Tong proce ipronerly Holding over into breathing paces where he phrase x neeetr. aling to stra the mas enoogh uehing the lst 2 beats na measure, [Accentng staeat ater which ar not marke wi Seonficing sod tne quality lor the sake of dynamic 142 aura tee Phute Bais Oboe Bs Corne, 1B Tenor Sexophone| Bi Gane Bs Alt Saxophone Horn in F Trombone Burton B.. Bassas Buse (Tuba) 123LESSON 22 Fuse Balle Oboe Bs Comet, B: Tenor Saxophone Bel Bs Alto Saxophone Hor in F ‘Trombone Baritone B.C. Bassoon Base (ube) SUGGESTED WARM-UPS _ Student Book- Page 32) [Note:These should be memorized as quickly as possible and played as daily riutine atthe beginning ofeach class session, Warm-up 1 {Por lessons 7-22) Two breath imple pee J 60 Blue Bal Obne Bi Tenor Sexophone Bs Clarnee Bs Alto Saxophone Horn in F ‘Trombone Baritone B.C Besson Brest ivb 124SUGGESTED WARM-UPS Warmup 2 (Por lessons 11-22) Three breath impulses per beat J. = 60 Oboe Be Comet B: Tenor Sexophone| B Cinna, Bs Alto Saxophone Horn in F “Trombone Bertone BC 2 Tuba) TT aT Lo Warm-up 3 (For lessons 16:22) Four breath impulses per beat J = 60 Foe 5 Balle = Oboe Bs Comet Bi Senor Saxophase B Gianna E. Alto Saxophone Horn io B ‘Trombone Baritoor BC, Benson Bese Tube) 125Suggested Warm-Ups ‘Warm-up 4 (For lessons 21-22) Six breath impulses per beat 4- = 60 Bae — 7 Bais Shoe Bs Comet. Bi Tenor Saxophone Bhan Br Alto Saxophone Horn in F ‘Trombone Baritone B.C Bresoon Bese Tuba) Suggestion: As soon as practical, change roarmups 1 and 2 above to chromatic and delete rests Fine Bells Shoe Bs Cornet, Bi Tener Saxophont| Bi Glannet Bs Alto Saxophone Horn in F Trombone Baritone BC Basvon, Bass (obs) — _, DERE SE » mn ODD dt mn 126,\se9%q—00g wapRIS) meme te SSIOUAXS WHLAHY aaa gay nea fmt gd gs (re s884 0 OOS) LO MANT WALAHORN IN F ALTO/TENOR SAXOPHONE CORNET TRUMPET Up On the Housetop See PIE SS RS RES =] Up On the Housetop (ar Set i = Gn age sae America the Beautiful g eae = eastied SSS getteneetters eto ee et ' d America the Beautiful Oe - snip 2 seas Get i = = 5 Serre Seeees ae zB == 55 pa Home on the Range 3 oe Baoattch. ‘eee 2 i = E = & 2 Red River Valley = = . = 3 : feo fiefs bow Ea grees jas Geese = fe = B etre = Dig Pie z : == St =a , je : CORNET/TRUMPET only Taps CLARINET a 5 HORN IN| CTY ei 2 = Battle Hymn of the Republic & = = Reveille = iS —-: : s == Sp oe SS SSS SS SS= = 2 =e eesoy 5 — “PSG ede, - zs hese Se = SS ts AOTIBA JOATY POY, a = SS Sa == fo rs Sa Ss Sa a Inynnveg ey} voproury igs be —— = : as Sara zs 6 ny T q LLL {dda i oo Sas eet ES esr rsE ae jp = Gal = as na doyasnoy ayy uQ dQ. doyasnoy oy uQ dQ. NOOSSVd Od ANOLIUVE WAU FUVNS/STIGG/AOGOALATA/ SPECIAL SOLOS WITH PIANO ACCOMPANIMENT student Book - Page 29) 1 1) PD od J Dy | ee! ee! FLUTE/OBOE/BELLS/SNARE DRUM CLARINET French Folk Song fered by 6. EVANS 130i SPECIAL SOLOS WITH PIANO ACCOMPANIMENT student Book - Page 29) IddWNULLINOD oupuepuy NOHdOXVS YONELOLIVHORN IN F ‘TROMBONE/BARITONE B.C./BASSOON Gavotte and Trio Gavotte and Trio i E 343 ¥ ue ma 34 SPECIAL SOLOS WITH PIANO ACCOMPANIMENT (Student Book - Page 29) n 4 132~ *EASTMAN SYSTEM OF COUNTING (Simplified) I. Notes of one or more counts ~ Notes of one count (or longer) are counted much the same way as any counting system; simply say the number of the count on which the note begins and continue the word-sound for the duration of the note. Thus a note which receives ‘one count and which begins on the first beat of the measure would be counted “one” if it were on the second count, ~ say “two,""ete. A note of longer value would simply be held longer; thus a whole note (in 4 time} would be counted “onnnnnnnnnnne” for 4 counts. This has the advantage of making the verbalization most nearly approximate the sound of an instrument playing the actual rhythm and requires the identical mental process of thinking the number of counts while a continuous sound is produced. The following example quickly illustrates Eastman Counting as applied to rhythms (including rests) of 1, 2,9 or 4 counts. ~- gilt. pitt iJ, 1tih rf 2 3 4 1-wmunun 102 Be 1 304 1-umun Notes which receive less than a full count are divided into rhythms which are divisable by 2 and those which are ~ divisable by 3 (some would say duple and triple rhythms). Again, any note which occurs on a downbeat is simply counted with the number of the count; the important difference is that a note which occurs the last. of a count is counted “te” (latin, rhymes with May) and notes which occur on the second “4 of the count and last.“ of the count are counted “lah” and “lee.” Rhythms which are divisable by 2 Rhythms which are divisable by 3 7 m TF . 1 te III, Everything else is counted “Ta” 7 - 1 J J J é ] 1 ta te ta 1 ta lah ta lee ta 1 1 ah ta lee ta 1 1 ta lah ta lee - ae DTA 7 I 7) + For the complete explanation of this counting system, see Ear Training and Sight Singing Dictation Manual by Alan 1 McHose, published by Prentice Hall, parsBh Division of Beat . Book 1-A . INSTRUMENTATION Condugior’s Guide with cassette ~ Flute Roy ayy Cornet/Trumpet/Baritone T.C. ; Oboe : . ~~ ..Freneh Horn Basso¢ * ae - Clarinft/Bass Clarinet 2 Alto/Baritone Saxophone i Tenor Saxophone Book 1-B - INSTRUMENTATION C Conductor's Guide = Flute: Cornet/Trumpet/Baritone T.C. i Oboe French Horn - Bassoon Trombone = Clarinet/Bass Clarinet. Baritone B.C. L Alto/Baritone Saxophone Tuba/Bass Tenor Saxophone Percussion/Mallets. | le Book 2 ; INSTRUMENTATION \. Conductor's Guide Baritone Saxophone Flute Cornet/Trumpet i Oboe French Horn . Bassoon . Trombone Clarinet Baritone B.C. od Bass Clarinet Baritone T.C. Alto Saxophone Tuba/Bass i Tenor Saxophone Percussion/Mallets - RHYTHM SLIDES: L Set 1 - for Book 1; Set 2 - for Book 1; Set 3 - for Book 2 \ - ee . SouTHERN Music CompANy - 1102 BROADWAY # 7.0, BOX 329.» SAN ANTONIO, TEXAS 70252 . . j - -