% REFERENCE INDEX Definitions (p9) Accent 15 Accidental 16 Allegro 11 Andante 11 ‘Aspeggio 28 Bass Clef $ (Bass cleinst) BarLines 3 Beat 4 Blues 21 Breath Mark 6 Chord 28 Chromatic Notes 33, Chromatic Scale 33 CommonTime 26 Crescendo 11 DcalFine 18 Decrescendo 11 Diminuendo 11 Dotted Half Note 14 Dotted Quarter Note 22 Double Bar 5 Duet 7 Dynamics 9 Eighth Note 10 Eighth Rest 31 Embouchure 2. (Brass WW) Enharmonics 33 Fermata 8 1st 2nd Endings 16 Flat 5 Forte (f) 9 Glissando 19 (Trombone) HalfNote “6 Halfstep 33 Harmony 8 Interval 24 Key Signature 7 Largo ‘23 LedgerLines 3 Measure 3 Mezzo Forte (mf) 9 Moderato 11 Multiple Measure Rest 20 Music Staff 3 Natural Sign 5 Notes 4 Phrase 20 Piano (n) 9) Pick-Up Notes 9 QuarterNote 4 Ragtime 19 RepeatSign 5,26 Rests 4,6,7,31 Round (Canon) 12 Scale 28 Sharp 5 Slur 19 Soli 29 Solo 23,38 Tempo 11 Theme And Variations 18 Te 14 Time Signature 5 Treble Clef 5 (TeblecleFinst) to 25 Vole Note 7 Composers JOHANN SEBASTIAN BACH Chorale from Cantata 147) 18 Chorale 30 Minuet 20 Minuet 31 LUDWIG VAN BEETHOVEN + Ode To Joy {from Sym.No.9} 13, + Theme From Symphony No.7 34 JOHANNES BRAHMS Theme From Sym.No.i 38 (Bross & Low Wwrs) ANTONIN DVORAK + Theme From*New World Sym 23 STEPHEN COLLINS FOSTER Camptown Races 14 Oh,Susanna 10 EDVARD GRIEG Morning (from Peer Gynt) 15 FRANZ JOSEF HAYON + Theme From"Surprise Symphony" 28 FRANZ LEHAR + WaltzTheme 17 WOLFGANG AMADEUS MOZART AMozart Melody 8 Eine Kleine Nachtmusik 38 (High ws) JACQUES OFFENBACH Barcarolle 15 GIORCCHINO ROSSINI + William Tell 10 ‘CAMILLE SAINT-SAENS + Egyptian Dance 34 FRANZ SCHUBERT + March Militaire 21 JEAN SIBELIUS + Finlandia 26 JOHN PHILIP SOUSA + ElCapitan 32 + High School Cadets 14 PETER ILLYICH TCHAIKOVSKY * Capriccio Italien 35 March lav 33 ' 1812Overture 37 at World Music AFRICAN, + Kum Bah Yah 25 [AMERICAN + American Patrol 35 America The Beautiful Auralee 12 Ezekiel Saw The Wheel GoTell Aunt Rhodie 6 Michael Row The Boat Ashore On Top OF Old Smokey Skip To MyLou 10 ‘Swing Low, Sweet Chariot 36 2 39 The Streets Of Laredo 28 Wayfaring Stranger 35 When The Saints Go Marc 13,27 AUSTRALIAN Botany Bay 26 AUSTRIAN Austeian Waltz 26 CANADIAN Alouette 14 OCanada 32 CARIBBEAN + Banana BoatSong 18 CHINESE Silver Moon Boat 34 ENGLISH + London Bridge 8 + Scarborough Fair 22 SeaChanty 22 FRENCH ‘AuClireDelatune 8 Frere Jacques. 12 GERMAN German Folk Song 27 ISRAELI Hatikva 30 TTAUIAN Carnival OfVenice 29 JAPANESE Sakura, Sakura 16 MEXICAN Chiapanecas 15 LaBamba 39 LaCucaracha 36 SCOTTISH ‘Auld Lang Syne 22 hing in ‘TRADITIONAL HOLIDAY MUSIC Jingle Bells 9 Jolly Old St.Nick 17 agree] A0OH- fouseiop 17 RECA) MUSICAL DE RENNANDOROLIS — 8.7 12. HANNO CLIS aFINGERING CHART 474 FINGERING CHART TUBA Instrument Care Reminders Before putting your instrument back init case alter playing, do the following: + Use the water key to empty water from the instrument. Blow air through it Remove the mouthpiece. Once a week, wash the mouthpiece with warm tap water. Dry thorouighly. Wipe off the instrument with a clean soft cloth, Return the instrument to Its case, Tuba valves occasionally need oiling, To ol your valves, simply + Unscrew the valve atthe top of the easing, + Lift the valve half-way out ofthe casing, Apply afew drops of oil to the exposed ‘metal valve, Carefully return the valve to its casing, When properly inserted, the top of the valve should easily crew back into place. Be sure to grease the slides regularly. Your director will recommend special slide grease and valve ol, and ‘will help you apply them when necessary. CAUTION: Ifa slide,a valve or your mouthpiece becomes stuck ask for help from your band director (or music dealer. Special tools should be used to prevent damage to your instrument. /LORWE AS ° e Open Pressed down lnararent courtesy of Yasha Coonan of Ane, fandand chest Don a ie coe e0045 "Yer can mayur pogeshvough the bok on this page Flin the stars snared by yourband decor 27 a 1 26 28 24 2 ESSENTIAL : ELEMENTS 22 G a STAR ACHIEVER d 20 . NAME 7 19 9 18 10 7 u 16 we 15 14 13 1. Page2-3,the Basics 13, Page 22.8 Quiz.No.117 2 Page £6 Qui No.13 16. Page23, Performance Spotlght 3. Page 6 €€ Guz. No.19 17, Page 24 € Quiz.No.125 - 4. Page 7, EE Quiz, No. 26 18, Page 26, Essential Creativity, No.137 2 5. Page EE Quiz No.22 19. Fage28,No.149 ga 6. Page 10, EE Quiz, No.45 20. Page 28, EE Quiz,No.151 3 ae 7. Page 12-12,Perfonmance Spotight 21, ‘Poge2,PerfomanceSpotight «ga 8. Page 14 EE Qu Nves 22. Page3}, EE Guz No. 168 38 ss 9, Page 15, Essential Creativity, No. 72 23, Page 32, CE Quiz, No. 168 gy Ru 0. Page 1, EE Quiz No.8 ba. Page3,No.174 P Por S Page 17EssentlCeaty,No.8S 25. Page 35, EE QuizNo.181 3s 12. Page 19,€€ Quiz, No.98 26. Page 36, Performance Spotl > 2 > 13. Page 20.Esenll Ceatly.No.104 27. Page, Performance Spotight 5 14. Page21,No. 108 28, Page 38, Performance Spotight s MUSIC — AN ESSENTIAL ELEMENT OF LIFEa CREATING MUSIC = Composition isthe art of writing original music. A composer often begins by creating a melody any ‘made up of individual phrases ike short musical"sentences” Some melodies have phvases that seem 2 Composition (answer orrespond to question’ pases asin Beethoven’ Ode To Jo Ply this melody and listen & to how phrases 2 and 4 give slighty cifferent answers tothe same question (ohrases 1 and 3). 1, ODE TO JOY Ludwig van Beethoven lt wae 2. Q. AND A. write your own answer" phrases in this melody, 3.Qvestion 4.Answer af eis ree | Jd aE =5 = 5 a a ee pia ins Ti ias 4. YOU NAME IT: Pick phrase A, 8,C, or D from above, and write it as the “Question” for phrases 1 and 3 below. Then write 2 different Answers*Tor phrases 2 and 4, 1.Question 2Answer SE 3.Question 4Answer — — z «Improvisation isthe ar of freely creating your own & Improvisation — melody as you play, Use these notes to play your own = melody (Line A), o.go with the accompaniment (Line 8). 5, |» INSTANT MELODY >% RHYTHM STUDIES a i JO uo}, nomi, a4 12d, Day fdr ds dD {LTT by dy jay dy SLD fr DID, DTD, dy dy dy DSTI, by OS by Ay g5Id) b, DLL y dy DTT} dy y BID], DID y hy | fe dL ppd pot OY pt J FV by dy -dy | TLL, dys. ge SI a kt Bd dey fp de Dt 4YG RHYTHM STUDIES 1 id x 1d fj dif Joy J | |. dd. gi—1 al ae ; 4 eieeeelee \d 2 2 2 t 1 ed \d qd : ) es 4111 y ! joITIy—J yy. i Ty, pion . a qe 1 Oy ou in 4, . . me re Jee ye fegeey3 4-1}. — pad deety COnPSRS¢AD MUSICAL BE FeAAN.0. C4),th aS eS40 RUBANK’ SCALE AND ARPEGGIO STUDIES KEY OF Bb in thiskey signature play al 85s and Eb a. SS mv a I @ « « q KEY OF Eb inthis key signature, play all Bb's, Eb's and Abs. 1 Es, SSF] = 33 Sam: E oe a ol « a CO-PORECAD KUSiCAL AWANOPOLIS TL pruwwpannus — 5. ,eet he aa oi, STS 4 eel > IPE Fb, ae J? : 187. LA BAMBA - Duet lle epee my > | DE | ? , > | 4 d | = Sj i 12TS > HDA ddd ss aT ; sd a Se apa: eeery snes ‘Arata ‘aePERFORMANCE SPOTLIGHT Solo with Piano Accompaniment 185. THEME FROM SYMPHONY NO. 1 - Solo (< eels Sa yFT)51844827 /etol-12 | co-pcncAy usicns PERFORMANCE SPOTLIGHT > ema t re Peter llych Tchaikovsky ‘Arby John Higgins HANLO'GLIS 37 184, THEME FROM 1812 OVERTURE - Band Arrangement Al vel VI vw vd] vou vel valPERFORMANCE SPOTLIGHT 182. AMERICA THE BEAUTIFUL ~ Band Arrangement8tOnge2//yOgt.42 ! 80 PREGA) “USICAL uF FeRNANUOPOLIS ight bulb. developed the pr 178. CAPRICCIO ITALIEN Always check the key sir 181. ESSENTIAL ELEMENTS QUIZ ~ SCALE COUNTING CONQUEST 2 seFrench composer Camille Saint-Saéns (1835-1921) 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 phonograph—1877. HISTORY 175. EGYPTIAN DANCE. Warch forenharmonics Allegro Camille Saint-S eT 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"hear"it imhiis 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, z 4 2 177. THEME Fi “SO STS BTAUIRE? vee ede oer od as CORPORSGAY ..USICAL GE FERWANDOPCLIS. CHP. 15.00-00054 940827901127 “COPPORRCAD ~USICAL UE FAH 3 Chand oF land Ge Enharmonics 1 eemannonnus any -| = Two notes that are witen diferent but sound On apne kor cach Zz thesame (and played uth the same fingering) are Backieyibthe letend 8 called enharmonics. Your fingering chart on pages a sharp: g 46-47 shows the fingerings forthe enharmonic ‘notes on your instrument. 169. SNAKE CHARMER Enharmonicnotes use the same fingering, G/Ft 2S Sees 55 Sj AG 170. DARK SHADOWS bey = ae HH 3 Pick-up note 171. CLOSE ENCOUNTERS © Enharmonic notes use the same fingering Db/C# 2 172, MARCH SLAV Pete lyich Tchaikovsky ———— e i Chromatic notes ae altered with sharps fats and natural signs which ae nt inthe z Chromatic ‘key signature, The smallest distance between two notes is a half-step, and a scale made So Notes up of consecutive half-teps is called a chromatic seae. 2 174, HALF-STEPPIN’32 165. DANCING MELODY - New Note G [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 Fidells, The Washington Post and many other patriotic works. Sousas ‘band performed all over the country, and his fame helped boost the popularity of bands in America. Here is a melody from his famous E! Capitan operetta and march. 166. EL CAPITAN Allegro HISTORY John Philip Sousa f BE “0 Canada,formerly known as the “National Song,*was frst performed during 1880 in French Canada, Hobert 2 ‘Stanley Weir translated the English language version in 1908, but it was not adopted as the national anthem of +2 Canada until 1980, one hundred years after its premiere, 167. O CANADA Cala Lavallee, Hon. Judge Routhier ‘Maestoso (Majestically) and Justice RS. Weir 168. ESSENTIAL ELEMENTS QUIZ - METER MANIA Count and ciap before playing. Can you conduct this? TAL Bs CORPORAGA. cUSICAL DE FEANANDONCLIS LL remernorous — srySrerry2i/oNstAz— CO.\PORAGAD iAUSICAL GE FERNANDOFCLIS ey Eighth Note o) = syepaseatuna ITs rer Eighth Rest, yantannatetene, | a dy radi dh - nak tea2a POD Bide eid bi Ae de dg 159. EIGHTH NOTE MARCH Dede pada vere terzea tate tere tere is26 160. MINUET Moderato Johann Sebastian Bach 161. RHYTHM RAP top fotitisiit bs ds bl dy bd Ve bes ese Te 2a se se Le rPesHHw Te2es EdD 162. EIGHTH NOTES OFF THE BEAT LSS == 2 Ve 2ec eae Tare sede ere case 1e2e sa ae 163. EIGHTH NOTE SCRAMBLE30 Z B DAILY WARM-UPS so woicurs ror roneorecensoue 154, RANGE AND-FLEXIBILITY BUILDER NE 155. TECHNIQUE TRAX 156. CHORALE Johann Sebastian Bach ‘The traditional Hebrew melody “Hatikvah has been Israel's national anthem since the nation’s inception. tthe Declaration af 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, 157. HATIKVAH Israel National Anthem ee a Andante 54944827 oat -12 co PORECAG MUSICAL DE FERANDOPOLIS.PH OUUSZT/uboi ve CORPORACAD MUSIGAL GE FERNANIOPCLE 29 PERFORMANCE SPOTLIGHT eee eee 152. SCHOOL SPIRIT - Band Arrangement u wreuey March Sil [B]~ measure mumber Arby John Higgins f oy eV 2 tess f - od > Solt \When paying music mated Sol you are part of goup"solaor group fete Listen careful in “Carnival of Venice,* and name the instruments that play the Soli part at each indicated measure number, Jullus Benedict ~ 153. CARNIVAL OF VENICE - Band Arrangement Ary Jahn Higgins Allegro nud Soli28 A scale is a sequence of notes in ascending or descending order. Like a musical "ladder," each Scale step isthe next consecutive note in the key. This scale isin your Key of Bb (two flats), so the ‘top and bottom notes are both Bb's. The interval between the B's is an octave, THEORY 147. CONCERT Bb SCALE oct = oxtave 7 6 5 43 2 1 Seale, detave ————5 Steps: 1 203 4 5 6 7 @ FPEGG!O octave higher. An arpeggio is a"broken’ chord whose notes are played individually THEORY 148. IN HARMONY Divide the notes of the chords between band members and play together. Does the arpeggio sound lke a chord? [——Arpeagio—, ——Arpeagio p35 3 Chord @ 5 35 8 \ Chord 149. SCALE AND ARPEGGIO Seale Arpeggio Seale Arpeagio Austrian composer Franz Josef Haydn (1732-1809) wrote 104 symphonies. Many of these works had nicknames and included briliant, unique effects for thelr time. His Symphony No.94 was namedThe Surprise Symphony" because the soft second movement included a sudden loud dynamic, intended to wake up an often sleepy audience. Pay special attention to dynamics when you play this famous theme, 150. THEME FROM “SURPRISE SYMPHONY” Franz Josef Haydn | * Andante . P nf 151, ESSENTIAL ELEMENTS QUIZ ~ THE STREETS OF LAREDO ‘American Folk Song Write in the note names before you play. (Seas ~ ee CADMUSICALOE FeRWANDOFGLIS— —§ — — 9 Fimvanewons — s.r51 gaga27/goot-12 CouPORACAO MUSICAL bE FeRWANDOFCLIS 27 138. EASY GORILLA JUMPS ANANDOROLIS — 5. Pe s 139, TECHNIQUE TRAX Always check the key signature aS 141, GERMAN FOLK SONG Moderato 142. THE SAINTS GO MARCHIN’ AGAIN Allegro James Black and Katherine Purvis f I 143. LOWLAND GORILLA WALK 144. SMOOTH SAILING 145. MORE GORILLA JUMPS26 Repeat the section of music enclosed by the repeat signs. (if Istand 2nd endings are used, they are played as usual — but ‘90 back only tothe fist repeat sign, not fo the beginning.) Repeat Signs 132, MICHAEL ROW THE BOAT ASHORE ae ‘Andante tican-American Spiritual 133, AUSTRIAN WALTZ Moderato SB sy St 134, BOTANY BAY Allegro r 7 my a EC Time Signature Condudtfrif 4827/08 01-12 3 SEG = commontime CONPORRGAD MUSICAL OF FePE siogrous Ee amass precincts ; Msturbeatpaten, | T= 135, TECHNIQUE TRAX Practice atoll dynamic eves {_ mmnanoorous — sy 136, FINLANDIA Jean Sibelius Andante p— _- ———— ae —— Create your ov variations by penciling in a dot anda flag to change the rhythm of any measure from & E 137, ESSENTIAL CREATIVITY Id Jleold. 325 126, GRENADILLA GORILLA JUMP No. 4 127. ae THREE IS THE COUNT o _ a __# 130. CROSSING OVER - New Note C 3s 54 gage27/ogni-12 | Tri ‘Atri isa composition with three parts played together. Practice _COsPORAGAO HUSIGAL OE FERNANDOPOLIS. iS ‘this trio with two other players and listen for the 3-part harmony. cr 1ss00-00 131. KUM BAH YAH ~ Trio aiways check the key signature 1 PenanorOt8 85 Pion conf Moderato24 SPECIAL TUBA EXERCISE - Lip Slurs Lip Slurs are notes that ae slurred without changing valves. Brass players practice these to develop a stronger alrstream and embouchure, and to increase range. Add this pattern to your dally Warrn-Ups: bi SO NN Great musicians give encouragement to fellow performers. On this page, clarnetists learn their instruments’ upper register in the “Grenaailla Gorilla Jumps" (named after the grenaddla wood used to moke clarinets. Brass players earn lip slurs, a new warm-up pattern. The success of your band depends on everyone's effort and encouragement. 119. GRENADILLA GORILLA JUMP No. 1 SS lal FF ——F 120. JUMPIN’ UP AND DOWN EE SI i BSS eee et 3 aw aS a 121. GRENADILLA GORILLA JUMP No. 2 122, JUMPIN’ FOR JOY — 123. GRENADILLA GORILLA JUMP No. 3 SS 124, JUMPIN’ JACKS ‘The distance between two pitches isan interval. Starting with“1”on the lower note, count each line Interval sya space between the notes The number ofthe higher notes the stance ofthe intel 2nd— 3rd — ath 1 Sth: 1 6th: 17th: Si 7 Octave: 0?%o7 "oa oO oO oO o 125. ESSENTIAL ELEMENTS QUIZ. Wiicein the numbers ofthe intervals, counting up from the ower notes. A Bowe ST RCGG27T/ 001-12 i Intervals: (2nd COsPORAGAO WUSICAL OE FERNANOOPCLIS ‘CHP. 15,60-000 ! Femvanporous — s.r, |veul be SORFORACAO MUSICAL DE FeRuawn/e, CEP 18.680.09 23 PERFORMANCE SPOTLIGHT- ™"- +. . You can perform this solo with or without a piano accompanist. Play it for the band, the school or Solo with Piano your family. It is part of Symphony No.9 (“From The New World”) by Czech composer Antonin Accompaniment Dvorak (1841-1904), He wrote it while visting America in 1893, and was inspired to include ‘melodies from American folksongs and spirituals. Tis is the Largo (or “very slow tempo") theme. 118. THEME FROM “NEW WORLD SYMPHONY” 7 argo [SJ sMeasurenumber ‘Antonin Dvordk cae22 Dotted Quarter ‘Adot adds half 1 } Asingle eighth & Eighth Notes -—ra)=2ouu Sertectin dod Nein 110, RHYTHM RAP ‘lop 42 44 0 111, THE DOT ALWAYS COUNTS Ta 2es eae Te2ec e468 1Te283 4848 TH2HZ HEME 112. ALL THROUGH THE NIGHT Fine of 113. SEA CHANTY Abwaysuse a full airstream, Moderato oe a aS Se = a 2 f 114. SCARBOROUGH FAIR ‘Andante of f 115. RHYTHM RAP lp TL 4. bd bd te2esa4 2esehe Te2-ezese THerzasaaa 116, THE TURNAROUND Taras esa Teracede Teresa de Te2H3e4E 117. ESSENTIAL ELEMENTS QUIZ - AULD LANG SYNE lante Scottish Folk Song Al = Be ses Ste aStiaaayem _" Shaaae2t/uget ie? EP, 18900209 a 105. NATURALLY tL PERNANDOPOLIS — s,m, SS = = == == = a ‘Austrian composer Franz Peter Schubert (1797-1828) lived a shorter life than any other great composer, but he & crotedan rele aountef mse rue than sd ansongrcacer mse evkcandscompermenvten Symon chamber mea ops chlwatsonpne pees rach itarewecgtahyopmoace 108. ON TOP OF OLD SMOKEY Alle Boogie-woogie isa style of the blues, and it was first recorded by pianist Clarence Pine Top" Smith in 1928, fone year after Charles Lindbergh’ solo flight across the Atlantic. & form of jazz, blues music features altered notes and is usually written in 12-measure verses, like “Bottom Gass Boogie.” 109. BOTTOM BASS BOOGIE - Duet20 99. TAKE THE LEAD - New Note A | Bia la ee oe ee ac Phrase ‘A musical sentence” which is often 2 or 4 measures long, Try to play a phrase in one breath. THEORY 100. THE COLD WIND peti Phrase =~, > Phase a =F TE SL PE ll =F New Key Signature Multiple Measure Rest This Key Signature ; “The number above the staff tls you : indicates the ey ofF—play — DES ow many fll measures to rest 5 an Bsa56ats =P Counteachmensreofrestinsequence: awa pas 102. SATIN LATIN Allegro German composer Johann Sebastian Bach (1685-1750) was part ofa large family of famous musicians and bbecame the most recognized composer of the Baroque era. Beginning as @ choir member, Bach soon became HISTORY {an organist, a teacher, and a prolific composer, writing more than 600 masterworks. This Minuet, or dance in 3/4 time, was written as a teaching piece for use with an early form ofthe piano, Johann Sebastian Bach Mode 103. MINUET - Duet a 104. ESSENTIAL CREATIVITY this melody can be ployed in 3/4 oF 4/4. Pencilin either time signature, draw the bar lines and play. Now erase the bar ines and try the other time signature. Do the phases sound diferent? ‘CEP. 15.s0-000viBaa ULE BOUT Ee 00 PORZCAI {HUSICAL OE FERNANDOPOLIS reananoorous — s.F- Natural ~ 4 natural sign cancels a flat bor sharp (2) and remains in effect for the entire measure. xaORHL 92, RAZOR’S EDGE - New Note E = 93. THE MUSIC BOX ¥ Maderals P ae African-American spirituals originated in the 1700, midway through the period of slavery in the United States. = (One ofthe largest categories of true American folk music, these primarily religious songs were sung and passed on g for generations without being written down. The first collection of spirituals was published in 1867, four years after s ‘The Emancipation Proclamation was signed into law. 2 94, EZEKIEL SAW THE WHEEL Allegro Aftican-American Spiritual 95. SMOOTH OPERATOR WAS as: Ce ieee Sees set 96. GLIDING ALONG DA — 1 Slur4 notes ~ tongue only the fist. Ragtis sic style that was popular from the 1890's unti the time of World War . This eal form of = jazz brought fame to pianists like “Jelly Rol’ Morton and Scott Joplin, who wrote “The Entertainer” and Maple Leaf Rag,” o Surprisingly, the style was incorporated into some orchestral music by Igor Stravinsky and Claude Debussy. s ‘The trombones now learn to play a glissando, a technique used in ragtime and other styles of music. & is an America 97. TROMBONE RAG Sl 0 : 1 amet D.C. al Finei ya B DAILY WARM-UPS so wonours sor ronesrremove 86. TONE BUILDER Use asteady stream of ait, = 87. RHYTHM BUILDER 2 i S44 seeee 88, TECHNIQUE TRAX 89. CHORALE (Adopted from Cantata 147) Johann Sebastian Bach a mn a ‘A musical form featuring a theme, or primary melody, Theme and Variations followed by variations, or altered versions ofthe theme, THEORY 90. VARIATIONS ON A FAMILIAR THEME Theme Variation 1 ee ? Su Variation 2 ‘ ‘At the D.C.al Fine play again from the beginning, stopping at Fine (fee nay). D.C. al Fine D.C. is the abbreviation for Da Capo, or"to the beginning,” and Fine means “the end.” 91. BANANA BOAT SONG Moderato Caribbean Folk Song tf 2 - == a By: CO-PURCAY USIGAL UE FeRNANDOPCLIS, reenannarous — 8.8 f78. UP ON A HOUSETOP Allegro Key Signature sf> = 79. JOLLY OLD ST. NICK - Duet Moderato : fi hz uf ‘See page 9 for additional holiday music, MY OREYDL and JINGLE BELLS. 80. THE BIG AIRSTREAM - New Note a 000 3B oe 81. WALTZ THEME (THE MERRY WIDOW WALTZ) Moderato nf 82. AIR TIME mf CORPORACAD Musical .. FemaMo. Gus 84. ESSENTIAL ELEMENTS QUIZ a ap a ch, fj Ao Ee nf 85. ESSENTIAL CREATIVITY Using these notes improvise your own chythms: & Deea Accidental ‘Any sharp, flat or natural sign which ‘appears in the music without being in the key signature is called an accidental THEORY 73. HOT MUFFINS - New Note Flat A flat sign lowers the pitch ofa note by ahalfstep. The note A fiat sounds ahalstep below A, and all N's become ‘ats forthe rest ofthe measure where they occur Ab: bo e00 74, COSSACK DANCE Allegro FV THEORY ‘This Key Signature indicates the Key of Eb play all BS as B-flats al E's as E-flats, and all Mas Alas, 76, HIGH FLYING Me Faas ee Cee 1st & 2nd Endings Pray trough the 1st Ending, Then pay the repeated section of musi skipping the 1st Ending and playing the 2nd Ending, Japanese folk musi actually has is origins in ancient China, “Sakura, Sakura! was performed on instruments such as the koto,a 13-string instrument that is more than 4000 years old, and the shakuhachi or bamboo flute. The unique $2 sound of this ancient Japanese melody resuits from the pentatonic (or five-note) sequence used inthis tonal system. 77. SAKURA, SAKURA - Band Arrangement 4027 RACAD TUSICAL OF FERNANDOFOLIS corpo CHP. 15.600-090 t Pemvannorous — s.r, 5 { Japanese Folk Song Art. by John Higgins =]3 Time Signature 66. RHYTHM RAP 3 beats per measure Quarter note gets one beat Flip tpl AD ayy syd Ve2a3e Te2e3e 1H2H3H 1H243e 1428FH 1H2eSe 1H 2ATe 1H2H3H 67. THREE BEAT JAM Conducting Practice conducting this three-beat pattern, Po xYOIHL —s cae 5 oad Ea wes SB. 142036 182056 162836 142638 182636 182836 182858 THRE 68. BARCAROLLE M Jacques Offenbach eo ow ad ———|| Norwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suite fora play by Henvik Ibsen in 1875,the year used in plays, o in films and television, i called incidental music. - 3 3 69. MORNING (from Peer Gynt) Accent ,) Emphasize the note, ~ 70. ACCENT YOUR TALENT bette teeelteen dednedteleetitten tee Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diverse ‘music features lively accompaniments by drums and ather 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 CLAPPING SONG (“Chiapanecas”) ‘xMOLSIH Latin American Folk Song 72. ESSENTIAL CREATIVITY. 15.00.00 renwanporous — 8%} Compose your own rusic far measuies 3 and 4 Using this rhythm: 14] TTI =] velTie Acurved tine connecting notes ofthe same pitch, Ploy ‘one note for the combined counts ofthe tied notes. ane! TO BE TI Fey! asf JT yth 3 beats = Dotted Half Note dsr « snons die Jide J. ate Adotadés tlhe vale ofthe note Dbeats + Theat = beats 61. ALOUETTE - THE SEQUEL = French-Canadian Folk Sone ey re ae = SSS 2 |B aman ompose stephen Clin Foster 186-1064 vas born ner atugh Mh Hehas became the most eos Song water sme for wore such at‘Oh Susana which became popu ering the Calf old Rush of 189, 3 rmong his mos wellknown songs are"My Old Kentucky Home" and”Camptown Races” 62. CAMPTOWN RACES Stephen Collins Fost Allegro mf 63. NEW DIRECTIONS = 3 beats 3 65. ESSENTIAL ELEMENTS QUIZ (co -PORAGAD cUSIGAL GE FERNANDOPOLIS“sraaaae7/oogtt2 | B PERFORMANCE SPOTLIGHT _ THE SAINTS GO MARCI eRMANDOPOLIS — S.h, HING IN - Band Arrangement Ar. by John Higgins Ludwig van Beethoven Arby John Higgins2 PERFORMANCE SPOTLIGHT 52, PERFORMANCE WARM-UPS TONE suiLoeR = RHYTHM ETUDE == ve RHYTHM RAP ‘lop FUL ONII yA niy any Stomp a cHORA =» LE ‘Andante oo d| 53. AURA LEE - Duet or Band Arrangement (Part A = Melody, Part 8 = Harmony) Andante ww wu a all qt a a =f nf =P 54, FRERE JACQUES ~ Round (when group A eaches @ group 8 begins ot D) Moderato ® French Folk Song ot Por essher/uwut- a i COUPDRACAs USICML OF FEANANOPCLIS z ——‘ja gagazg/ueet-12 | CONPORACAS MUSICAL LE FERN AN. 0 *CLIS: n 2 Time Signature Conducting z smo AAs z : = 2beats per measure Practice conducting this \ s 1 or auQuartérfoce geisne beat ‘worbeat patter, Ee 46. RHYTHM RAP qld Oy yo oy lg Va2e te2e te 28 1H2e8 14822 1828 7828 Tere 47. TWO BY TWO eb 2 oh ——- = . = LK — | Fy ty Fly == s 22 - weds Tate vere raze 1628 tees tere tere ade Tempo Markings ™7?2!sthespeed of mas Tempo makings are usualy writen above the stan Kalin, Allegro -Fast tempo Moderato Medium tempo Andante - Slower walking tempo _ 48. HIGH SCHOOL CADETS - March Atlee John Philip Sousa a eae le St 49. HEY, HO! NOBODY’S HOME Dynamics ¢,escendo (gradually louder Decrescendo or Diminuendo (gradually softer) 50. CLAP THE DYNAMICS FOTIA Yb Ay yey » - sf : ; » 51. PLAY THE DYNAMICS NE aS10 Eighth Notes Jo Jo tacaghnwne =ineen T) “wo or more Eighth J) TEjntnons = 20 Ap) eee 1 8 Playon down ond up taps Tame across the stems 40. RHYTHM RAP Clap the shythm while counting and topping lop 4JTT1 Jl ITT I 41, EIGHTH NOTE JAM Beam hw \sTTIs 3: yl Tere saan 2S aaa 02 sn) 1a 28 Ae dle) a 2s Fie 4s oe ee a 42. SKIP TO MY LOU American Folk Song IF — wee Be = we wees s vee 43. LONG, LONG AGO Good posiure improves your sound. Always si straight antl 44, OH, SUSANNA yy 4 Stephen Collins Foster SS Sper er ara wa 5 ea = o HISTORY” radio and television, 45. ESSENTIAL ELEMENTS QUIZ — WILLIAM TELL Italian composer Gioacchino Rossini (1732-1868) 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 Gioacchino Rossini = daa ive” Pa Eb: == 1 = = 2S = oe. = = Tee on mer/toet Ayrm "184482779994 4971 CG POR.CAD USICAL oe FERNAND, 33. DEEP POCKETS 7 New Note A Te en ceo TA ul a] 34. DOODLE ALL DAY Sy 35. JUMP ROPE 5B o uu sull cle! One or more notes that come before the fist full measure. The beats of Pick-Up Notes are Pick-Up Notes crac tiom the ast measure 36. A-TISKET, A-TASKET Pa aE bE nas 4a 1e2e3sede 1a2a3e 7 JS ~forte (play loudly) mf” - mezzo forte (play moderately loud) —_p ~ piano (play softly) = Dynamics) Remember to use full breath support to contiol your tone at all dynamic levels, ~ 37, LOUD AND SOFT : te 14-1111 jenn jedddye bafeddd dp d al nf _ 38. JINGLE BELLS iso practice new music on your mouthpiece only. 4.5.Pierpont Hanukkah SongFermata told thenote(orest)longer than normal 27. REACHING HIGHER ~ New Note G> = eo AG Femata ¢ - AU CLAIRE DE LA LUNE z 3 Harmony “wo or more notes played together. Each combination forms chor = 30. LONDON BRIDGE - Duet English Folk Song A B SS HB hustrian composer Wolfgang Amadeus Mozart (1756-1791) was child prodigy who started playing professionally at 2 _age sizandlived during the time of the American Revolution. Mozart's musics melodic and imaginative. He wrote more $2 _ than 600 compositions during his short life including piano piece based on the farnous song, "Twinkle Twinkle Lite Star.” 31. A MOZART MELODY Adaptation = = wa De === = as ears) an 0 nee eee e 32, ESSENTIAL ELEMENTS QUIZ. Diaw these symbols here they belong and * | 4 nite the note ames before you pay q BS B- ay 88 PREGA, 6 nnorous = 5h54 944927/ 0001-12 5 HHUSICAL DE FERMANLOFCLIS 0 Ponte cer, is. - Whole Noterores ~ Whole Rest Whole Rest Half Rest J _ Awhole Measure ———> = 4 best _—— a saan of Silent Beats Ta2raseae Va2zasade hangsfrom —Skgona astaffline. —staffline, 20. RHYTHM RAP Ciop the rhythm while counting and tapping. lop fo ddd dpe 4 a ore ees Ve2eZG4e Te2G3H4e TH2esaAe 1H2GTEAA 12H EGE Tere AE 21, THE WHOLE THING % FF Ss Teles ade Te2eF44e THOSE TOPAZ EAe THIET HSE 1H2E3EbE Duet A compostion with two aferent pars played together, 22. SPLIT DECISION - Duet a a a Key Signature The Key Signature tells us which notes to play with sharps (ft) or flats (}) throughout the music. Your Key Signature indicates the Key oft ~play all Bs and Es as flats ‘AMOTHL _ 23, MARCH: STEPS y: ee F, j j Play Bs and EVs 24, LISTEN TO OUR SECTIONS rewssion Woodwinds Brass Percussion Brass All 25. LIGHTLY ROW DE 26. ESSENTIAL ELEMENTS QUIZ. Draw in the bar lines before you play. Bee.Notes In Review Memorize the fingerings for the notes you've learned: Gotothenext ine. + a Double Bar =r 14. ROLLING ALONG Half Note > =2 000s 22 tent Bouts laze Tare 15. RHYTHM RAP clop the rhythm while counting and tapping. clap Repeat Sign 1 gti dd. 4d J yt dy Ve2e3048 e283 4e TH2ETHAS TH2TOAG 1H2HTETH THEPEZEMD 16. THE HALF.COUNTS to Ss Ta2e3G48 14263448 16243848 14243848 16283848 Ta2H3048 17. HOT CROSS BUNS ty this song on your mouthpiece only. Then ploy itan your instrument. b Breath Mark ’ Take a deep breath through your mouth after you play a full-length note. 18. GO TELL AUNT RHODIE American Folk Song vai 19. ESSENTIAL ELEMENTS QUIZ Using the note names and shythms below, draw your notes on the staf before playing, JoonPére¢Ad .USICAL UE FERNANLDCLI) J d J ee) ar 8 BoD C BC o BoD & 1 wewnanoorouss = srIndicates the end i Without stopping, play once Double Bar = ofapieceotmuic, - Repeat Sign again fom the beginning 7. THE LONG HAUL Double Bar ¢C = REST— eoe +> oo 8. FOUR BY FOUR Repeat Sign Cost: 14243444 148283 84e 1e2eZ eae Tereseaa 9. TOUCHDOWN Bb 000 10. THE FAB FIVE - = = oe Chere oo a Tereseae Tere dade rerezaga Bass Clef Time Signature Note Names Fcieh) indicates how many beats per measure Each note i ona lne or space of the staf. These indicates the and what kind of note gets onebeat, note names ae indicated by the Bass Cle. position of note names on a music beats per measure ———_ co a7 sal Fourth ne Quarter note gets one beat =o oe ran -@ Sharp aaises the note and remains in effect for the entire measure, CONPOREGAS cUSICAL ve remus Flat by lowers the note and remains in effec forthe entire measure car. 15.40-00 Natural cancels at hy or sharp (f) and remains in effect for the entire measure, I runsanporous — 5.F J 11. READING THE NOTES compare this to exercise 10, THE FAB FIVE PP Taresade 12. FIRST FLIGHT 13. ESSENTIAL ELEMENTS QUIZ. Filin tne remaining note names before playing. BoE be‘To begin, welll use a special"Long Tone" note. Hold the tone until your => Long Tone teacher tells you to rest, Practice long tones each day to develop your sound 1, THE FIRST NOTE Hold each long tone until your teacher tells you to rest. i " é = REST. 000 ~ 123 “Fis ployed with open valves, Just est your fingers lightly on the valves The Beat Notes And Rests The beat s the pulse of music and ike your heartbeat it should remain vey steady. Counting aloud and foot-apping help us maintain steady beat. Tap your foot dawn on each number and up on each" One beat =1 4 auarterniote = 1 beat ut Notes tellus how high or low to play by their placement on a line ot space of the music staff, and how long ta play by thelr shape. Rests tellus to count silent beats 2 QuarterRest = 1silent beat 2. COUNT AND PLAY 3. A NEW NOTE Look for the fingering diagram under each new note. Eb E ar 900 be ———— The black circles tell you which valves to push down, "Eb (E-flat)is played with 1st valve. 4. TWO’S A TEAM = SSS Comet: 1 & 2 & 3 & Aw Leas e4e 1H2H3 048 1Hres abe 5. HEADING DOWN Practice long tones on each new note, D 00 a — Uo Oo 6. MOVING ON UP = ee = Ee Fo Of M108/...1 22) oo lebe o Count@top: 16 2838 46 148223048 14828 32 4e Terese aw COSPORECAG TUSICAL UE Fertiall. G-UL54 gga g27/gagt-12 a conporagho MUSICAL VE FERWANGOFCLIS cer. g It Together 1 weeanporons - 8d Step 1. Ifyou are playing a TUBA, rest it across your laySwith the mouthpiece receiver toward you. Ifyou are playing 2 SOUSAPHONE, place the open circular section over your left shoulder. Rest your right arm comfortably on the tubing, Step 2 Carefully twist the mouthpiece to the right into the mouthpiece receiver. Step 3 Place your right thumb in the thumb ring. Rest your fingertips on top of the valves, keeping your wrist straight. Your fingers should curve naturally. Step 4 ForTUBAS, place your left hand on the first valve slide oron the tubing next to this slide. Lift the instrument up toward you and rest it in your lap. tubing Step 5 Be sure you can 3. comfortably reach the mouthpiece. Hold the tuba as shown: READING MUSIC Identify and draw each of these symbols: Music Staff Ledger Lines Measures & Bar Lines Measure Measure 3 3 3 Berne Barine Barline The music staff Ledger lines extend Bar lines divide the music staff has S fines and 4 the music staf. into measures. spaces where Notes on ledger lines notes and rests ‘canbe above or are written. below the staffTHE BASICS Posture sit on the edge of your chair, and always keep your: Spine straight and tall Shoulders back and relaxed Feet flat on the floor Breathing & Airstream 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, Inhale deeply through the corners of your mouth, keeping your shoulders steady. Your waist should expand like a balloon. Slowly whisper tah" as you gradually exhale air into your palm. ‘The air you feel is the airstream. It produces sound through the instru- ‘ment. Your tongue is like a faucet or valve that releases the airstream, Producing The Essential Tone “Buzzing" through the mouthpiece produces your tone, The buzz is a fast vibration in the center of your lips. Your embouchure (ahm -bah-shure) is your mouth’s position on the mouthpiece of the instrument. A good em- bouchure takes time and effort, so carefully follow these steps for success: BUZZING + Moisten your lips, + Bring your lips together as if saying the letter + Relax your jaw to separate your upper and lower teeth. Form a slightly puckered smile to firm the comers of your mouth, + Direct a full airstream through the center of your lips, creating a buzz. + Buzz frequently without your mouthpiece. MOUTHPIECE PLACEMENT + Form yourbuzzing’ embouchure. + Centerthe mouthpiece on your lips. Your teacher may suggest a slightly different mouthpiece placement. + Take a full breath through the corners of your mouth. + Start your buzz with the syllable “tah.” Buzz through the center of your lips keeping a steady, even buzz. Your lips provide a cushion for the mouthpiece. MOUTHPIECE WORKOUT Taking Care Of Your Instrument Before putting your instrument back ints case after playing, do the folowing: Use the water key to empty water from the instrument Blow air through it Remove the mouthpiece Once a week wash the mouthpiece with warm tap water. Dry thoroughly + Wipe off the instrument with. clean soft cloth, Return the instrument to its case. Tuba valves occasionally need oiling. To oil your tuba valves: + Unscrew the valve at the top of the casing. Lift the valve half-way out of the casing. Apply a few drops of special brass valve oll to the exposed valve, + Carefully return the valve to its casing, When properly inserted, the top ofthe valve should easily screw back into place Be sure to grease the slides regu- larly. Your director will recom: mend special slide grease and valve oll, and will help you apply them when necessary. Using only the mouthpiece, form your embouchure carefully. Take a deep breath without raising your shoulders. Begin buzzing your lips by whispering “tah’ and gradually exhale your full airstream, Strive for an even tone. | REST | Brae meee yAstga7/ud0l-12 | b fun Ch USIGAL UE FERWANLOPOLIS ' paevexnorous = Pf | RESTTUBA BOOK 1 COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Bands... Making music with a family of lifelong friends. Understanding how commitment and dedication lead to success. Sharing the joy and rewards of working together, 5 1944go7/e aat-4 yt Individuals who develop self-confidence. g E Creativity—expressing yourself in a universal language. CONPOR:CAD :.USICAL UE FERNANDOPOLIS Band is. MUSIC! Strike up the band, Tim Lautzenheiser ‘CaP. 15.60-000 LL menanoorouis — sy DA soc: seman insuents used dsing mitary and ceremonial occasions were caleba Actualythese bronze or brass instruments were ancestors tothe trumpet For centuries, several attempts were made to invent a bass instrument forthe brass family ‘These instruments included the serpent and the ophicleide, The modern tuba, featuring 3-5 valves, ‘was developed in the 1820s, Tuba bells either point straight up or curve forward (a recording bass) In 1898, John Philip Sousa developed the sousaphone for marching bands. The tuba family includes the BBb Tuba (the most common), E& and & Tubas,F and C Tubas. Tubas are the important bass foundation instrument of the concert band. They play bass lines, blend with other instruments and play solos, Vand 3HL 40 AUOLSIH Wagner, Mahler R. Strauss, Vaughan Williams and Hindemith are composers who have included tubas in their writing, Some famous tuba performers are Wiliam J. ell, Harvey Philips and Roger Bobo, 'SBN 0-634.00325-9 Copyright © 1999 by HAL LEONARD CORPORATION Incermational Copyright Secured All Rights Reserved HAL*LEONARD®54 9gng27/usut-t2 COMPOR:CAO MUSICAL DE FERWANDOFOLIS, CEP, 15.00-200 1 Femanoorous — smTUBA BOOK 1 4.1 ESSENTIAL PLUS COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK * §fead927/eaoi-12 ! CORPORAGAG MUSICAL UE Fe! NDOFGLIS car. 15.00-000 Pa iacsceonarie “mmr en