Clarinet Book 1

AD\ANTAtr¡E,.
by Sandy Fetdstein and Larry Clarl<

FIHYTHM

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For Band or
lndividuaI
lnstruction
CARL FISCHERO
AOvaNTATSE . PF{AcTIEE

Ieacher' Assignrnents/Goals Student. Notes/Questions Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Approval
THEY\MAHA
AD\ANTAE¡ E,,, by sandy Fetdstein and Larry crark

Vlusicianship from Day One

Welcome to the Yamaha Advantage'"

We are happy that you chose to join'the band. Learning to play a musical instrument will be
-
something you will cherish for the rest of your life most important of all, it will be fun. The Yamaha
Advantage contains music of all cultures and all styles from rock to classical, to provide you with a wide
variety of enjoyable music to ptay: Evqrything you need to know to play your instrument is inctuded
and reinforced so you willquickly become a proficient musician. lf you have a computer, you can visit
www.yamahaadvantage.com, a Web site designed to hetp you learn more and have more fun.
The recorded accompaniments avaitabte separately or downloadable from the Web site are
recorded by a great band. They will provide hours of enjoyable play-along experiences and let you
hear professional musicians playing the music contained in your book.
Whether your goal is to be in a rock band, a symphony orchestra or just to learn to play an
instrument, we know the Yamaha Advantage will hetp you get there.
Have a great time making music.

X? &-rL
About Your Book
The Yamaha Advantage'" is designed to look like a computer screen tike an lnternet Web site. -
Thé "buttons" at the top of each page show the concepts you will learn throughout the method.
Everything new at the top of the page is presented with a colorfuldrop-down menu. Each exercise
that reinforces those concepts is hightighted with a corresponding color. For example, if a new note
is introduced, it is shown in a red drop-down menu. The number of the exercise that first uses that
note is atso highlighted in red.
The first pages of your book introduce the best notes to get you started on your instrument.
Take your time and get off to a good start.
Throughout the Yamaha Advantage you witl see a picture of a hand pointing to extra exercises
which appear at the back of the book. Use these exercises for additionaI practice.

CARL FISCHERo
65 Bleecker Stroet, New York, NY 10012
Graphic System Development,
Design and ltlustration: Copyright @ 2001 by Play¡nTime Product¡ons, lnc. YAMAHA'
ls a registered trademark of Yamaha
Susan Blakely I nte m at¡ onal C opy ri ght Secu red.
All rights reserved includ¡ng performing rights.
WABNINGI th¡s publ¡€tion is prol€cted by Copyright law. To photocopy or reproduce by
any mothod is an ínfringem€nt ol the Copyright law- Anyone who réproduces copyrighted
matter is subject lo substrantial penalties and as$ssments for each infringement.
Printed ¡n lhe u.S.A.
BM104 tsBN 0-8258-4396-0
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Caring for Your Clarinet

Mouthpiece Ássemble, tune, ,:.ieün cnú iubrirate ytsur íñsftumer¡t fcr the
{irst time under the gt;!dar'ce t:! yaut teathr:r.

á4; Ligature
iF+€

ry APPtYing cork Grease .

Cork grease applied to the corks iust
prior to assembly promotes an easy,
Barrel
proper fit of clarinet ioints. A thorough,
even coat on all cork ioints provides
protection and extends cork life. lt is a
good idea lo"wipe off old cdrk grease
before adding new.

Register Key
(on back)

ry Assembly
. Attach the barrel to the upper joint
and the betl to the lower joint.
Upper
Section
. Connect upper joint and loWer
Tone Hole Rings
ioint with a gentle, twistlng motion.
Pay careful attention to the bridge
keys -careless assembly gasily
damages them.
. To move them into alignment,
hold upper joint keys tightly,
making sure the bridge key is up.
Bridge Align upper joint bridge key on
Key ---- top of lower ioint bridge key.

-- ? - Tone Hole Rings

Placing the Reed

ry on the Mouthpiece
' Gentty hotd the reed in your
mouth for a few minutes to wet
the reed before putting it on the
I
mouthpiece.
l

Lower . Place the ligature on the mouth-

Section piece with the tightening screws
to the right.
. Place the reed on the mouthpiece
and secure it with the ligature.
The standard position is where
you can just see the tip of the
mouthpiece above the reed.

lu k(ai' Vout i¡¡$il ttm?nt itt to¡t playing

\E' t nndi'it¡¡t, huvc it prrtfr:ssional!,y cieaiea
b,¡ * qun!ifier! repair ter.kt'ricisn annuclly.

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Getting Started
4r
. Sit up straight on the edge of a chair
with your feet ftat on the floor.
' Right thumb under thumb rest.
. Keep thumbs straight, fingers curved
and close to the tone holes.

Making your first sound

Using only the mouthpiece and barrel;

. Fold your lower lip slightly over your botlom teeth.
Place the reed on your lower lip. The mouthpiéce
shoutd be in your mouth about 1/2 inch. .
. Rest your top teeth on the mouthpiece. Close your
mouth around the mouthpiece as if saying "too."
. Take a full breath. Exhale through the mouthpiece
and play a long steady tone.

7 Tuning
. Pitch is affected by temperature, so warm up the
instrument before playing by blowing air through it.
. Totune, putt out the barre[. The length you putl out
depends on individuat preference and method of playing.

Care of the lnterior l'i**;:

V of the Clarinet
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Rembving the Reed

. Draw the cleaning
swab through the
Remove the reed from body inserting at the
the mouthpiece by bett and out through
loodening the ligature the barrel to remove
and sliding it off. Dry al[ moisture.
the reed with a clean . Tenons tend to
cloth and place it in a
collect moisture,
reed holder.
especially at the
Removing Moisture from the fvlouthpiece upper and lower
joints. Wooden clar-
Remove all moisture and dirt from the inside of the
inets witl begin to
mouthpiece by drawing a cleaning swab through it.
split in this area, so
Take care not to scratch the mouthpiece, and always
be careful to remove
pass the swab through from the tenon cork side.
all moisture with
gauze.

& Care of Exterior of the C*arinet

For daity care, wipe the entire tength of the body with a polishing ctoth,
being careful not to appty pressure to the keys. Wipe down the keys,
taking care not to scratch them or damage the pads.

& Storing the lnstrurnent

The case should always be used for storing the instrument after playing
and for transporting. Be sure to remove the reed and store it property. Do
not put anything in the case that could place pressure on the instrument.

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ffiffi Your First Note

Half the Time

Now in Quarters

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A[[ Together
Now play numbers 1, 2 and 3 together without stopping.

YourSecond Note

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The Second Half

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Show That You Know

Now play numbers 5, 6 and 7 together without stopping.
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Repeat Sign

YourThird Note

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The Third Half

Play i,,d r l

The Third Quarter

Ptay the Right Length

Now piay numbers 9, 10 and 11 together without stopping.

Time to Move

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rp lt Long
Keep
Rest Play

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Play the Rest

Play Rest Pl Rest Ptay Rest Play Rest Play Rest p{ay Rest Play

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NowYou Have ltAllTogether .,\

Now play numbers 13,14 and 15 together without stopping.

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it
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.:u Review Theory
pages 4 and 5
Shape Note
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Music Note
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Let the Band Begin

It ls Att Air

The Second Note

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It's Easy Now

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Note a
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Quarter I

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Tripte Play
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Time Signature *-- - ---- -- - -i Notes -l
O Whole .4 Beats
Rests I Duet-.,4 *mposif.ion
wiltt two parts
{4 -- faur beats ftaunts) in a ncast¡;e t'\ \t
quarter noÍe qets ¡ne betl t' I

'- Breath Mark

¡ o,, Half '2 Beats ?
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) ) ) ) euarter.lBeat t ))
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Same Notes New Look

More New Notation

Listen While You Play

NowYou're Movin'

THEoRY

ArlJ íhe bar li¡res, name 1.lie no'res. tflen play

Duet Now
(Duet) SANDY FELDSTEIN & LARRY CLARK
) (b. 1e40) (b.1e63)

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New Note

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Another New Note

Hot Cross Buns

RockTime
(Duet) SANDY FELDSTEIN & LARRY CLAR
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Repeat within piece lntroduction

* tws beats in each measuÍe
- qusrter nate gets ane best

Good KingWenceslas

'ii1:.

Merrily We Rotl Along

) Traditional

Jingte Betts JAMES PIERPONT

Love Somebody

Add the bar iines, write in the counts, clap, sing and ptay

Ode to Joy
from Symphony No.9

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New Note

Tie Them Up

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Eu¡ruruÉi'(RULL T.tr A)
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f olty Otd St. Nicholas

(Duet) Traditional Cal

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i Multlpte Tempo, Slow Fast March
rr Measure Tempo
: Rest

The Victors
Chorale and Marcli
fraditionaI
orranged by Sandy Feldstein & Larry Clark

March Tempo

8..

When the Saints Go Marching ln

Traditional
arranged by Sondy Feldstein & Lorry Clark

Copyr¡tht O 2001 byAn¡dan Mus¡c

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BRn Key Signature
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a¿ A B Dynamics
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KeyofC- :-::;::
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p (piano)

Tempo: Moderately
-

l',r "' E' Scale

*F,: New Note

A'Hatf Step at a Time

.p

Shoo Fly American Folk Sor

!{ur!trrANsrrlp (DvNAMrcs)

Russian Fotk Song

LUDWIG van BEETHOV
(1770-1827)

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SoIo - one player plays Form: Round

Soli - one section plays
Tutti - everyone plays

Chorale Round Warm-up

(Three'Part Round)
,E t-
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Klosé Technique Study

HYACI NTHE-ELEONORE KLOSÉ

Cassions Song
EDMUND L, GRUETR
(7879-7941)

Moderately Jamaican Fotk Song

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Moderately Engtish Folk Song

Remember to piay wíth dynamic changes.

Ha'kyo Jung
The SchoolBel[ ls Ringing
Korean Folk Song

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Unison (unis.)

Chorale Warm-uP

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Baa Baa Btack SheeP American Fotk So

Tuftí

Skip to MY Lou
(Duet) American Folk 5
12.

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::il::il, #lKevorG- Theme and Variation

New Note

New Note Exercise

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Aura Lee Rocks

American Folk Song

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* = Use atternate F* fingering.

Frére facques
Moderately (Round)
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¡¡¡ French Folk Song
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Chorale Warm-up
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"-¿/ '--->
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Scale Study -f

JACQUES OFFEN

Barcarolle
r-----;]E - (1s19-80)

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This Otd Man
American Folk
Moderately t

# key signature, and piay the song'

Draw in the missing bar lines, circle the notes changed by the

Btue Danube Waltz IOHANN STI

(7825-l

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Long Tone Warm-up

Scale Study

Symphony No. 1
Oheme) IOHANNES BMHMS
(7833-97)

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Mexican Hat Dance

compleie this piece using only the notes, rhythms and dynamics you know,
then ptay it.

Academ ic Festival Overture

Fast (Duet) ,OHANNES BRAHMS
, (7833-97)

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note longer
áil Rest fi
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Chorale Warm-up

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-.i HERBERT L. CLAF
Ctarke Technique StudY (t867-1945)
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IOHANN SEBASTIAN B¡
!¡f Musette (1685-1750)
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ll Old St. Nick in Eighths
jl
Traditic
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Write in the counts, ciap, sing and ptay.

Lovely Evening
Moderatel (Round) French Folk S
tr

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Theme and Variation
lntroduction Italian Folk Song
Fast . lTlrneme orranged by Sandy Feldstein & Larry

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P
tr

* = Use alternate Ft fingering.

Conquest
SANDY FELDSTEIN & LARRY CLARK
(b.1e40) (b. 1e63)

Copyright @ 2001 byAmldan Musi(

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12 Bar Blues

Bb

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Scale Study
s
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Moderately 72 Bar Blues
B

Merry Widow Waltz

rnenz lE¡rAR
(1870-1948)

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ttd. Reprinted by pern¡ss¡on
ofthe (opyright owner.

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Moderately Slow Lo Yisa Goy
tr (Round)
lsraeti Folk Song

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Clarinet
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F ABb
a) bo

Bb

ffi
FAB

B(atl

Listen ing Skills Warm-up

Solo/Soli Solo/Soli Tutti Solo/Soli Tutti

Tongue Twister

f
Camptown Races
i Moderately

f SpringTheme
Fast from The Four Seasons

nN.qre Bh)

* Use Alternate Bl fingering.

Écossaise LUDWIG van BEETHOVEN
(Duet) (r770-7827)
l past

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New Note Exercise

New RhYthm

IOHANNES BRAHM:
(1833-97)
Andante
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lnkpataYa Native American Folk 5on

FRANZ JOSEPH HAYD

Chorate St. AnthonY (1732'r8o9)
\z

WOLFGANG AMADEUS MOZAI

(17s6-9t)
A

ffi ;';*,,1 i¡i ¡¡¡:i'¡itig inis scrq 5lfiff ing on low

G'
IEREMIAH CtAR
TrumoetVotuntary
' (1674-r707"
(Duet)
1. Andante
tr-a

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Chord
Progyession Moderato - moderotely

C Scale and Chord Progression

Surprise Symphony
FRANZ HAYDN
(7732-1809)
'OSEPH

Morning
Andante from Peer Gynt Suite No. 1

Can-Can
from Orpheus in the Underworld
Allegro IACQUEs OFFENBACH
(1819-80)

li.- -------__-]z^

Write in the phrasing, dynamics, lempo and play the song.

Compare your phrasing, dynamics and tempo to others'.

Kookabura
f Moderato (Round)
6 Australian Folk Song
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!--- decrescend'

Pachelbel Canon Chorale IOHANN PACHEL

Andante
,^ (7653-7706'

F Scale-and Chord Progression

-

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Swan Lake PETER ILYICH TCHAIKO\
Andante (Theme)
unis. ll.-----__-1n.@

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---_-=
f v

Witliam Tell Overture

Allegro (Theme) -? (7792-1.868
GIOACHINO ROI

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ij

r T rc¡ Ñ.1 i M'P R'b-V-f gÁf:r.EIr\t'

Using the pitches indicated, improvise rhythmically to create a new composition every time
Some sample rhythms are given. You may write in the rhythms you like best.

ry
Rockin'Riffs
(Ensembte) SANDY FELDSTEIN & LARRY
Allegro
 1 &.. D.C. ail Fine (Da Capo al Fine)
r-1
aa - 6o ?:sc,t lc l/re iegir;rlr:g
a.d pla\,, urtti! F¡ne ithe en(1)
ll ?'
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Scaling'Down

&

New Rhythm

' G Scale and Chord Progression

B
p
Moderato
unis.

B
\=--./
?- f- ? ------------
,.- O. /

-.f p p
Andante
Volga Boatman -f- -f
*f,

-
TEdHN1e.urE)
-
&

Keep fingers close to tone holes.

Where ls John?
(Round)

ts

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 D.S. al Fine (Dal Segno al Fine
''. * Gc back to the 9( sign
and play until Fine.

Flexibility Warm-up

i.
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s.t
i
Home on the Range
Andante American Folk S

u<-* .u t

-J

Alouette

f
Stone-Passing Game
Allegro

/ -----.... - -;
.r---=-
We Wish You a Merry Christmas
(Duet)
Moderato

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 27

Shaker Settings
FatherJames's Song - jAMES WHITTAKER (1751-87)
Simple Gifts .JOSEPH BMCKETT (1797-t882)
arranged by Sandy Feldste¡n & Larry Clark
Andante
,"Fother !ames's Song"
fr-----------_-_l E.

e e \__, O-
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AüeSro "SimpteGifts"
@ -P ) -

Sousapalooza JOHN PHtLtP S0USA

(t8s4-7932')
March Tempo E 'r,nr rrooot cadets'
arranged by Sandy Feldstein & Lorry Clark

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F4 "rtcap¡tan'

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* = Use alternate Ff fingering. Copyr¡ght @ 2001 byAmidan Music

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To the Next Level

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: Above from.Below
i

Arban Scale Study JEAN-BAPTISTE Af

(182 5-89)
j@

Shepherd's Hey
Engtish Folk:

f Andantino FRANZ SCHI,

(Duet) (7797-78
Andante.=---r a-._\ A

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!lgls
Largo * very slaw

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F
aJG #I
G

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Expanding the Range

AnvilChorus GIUSEPPE VERDI

(181 3-1 901)
from ll Trovatore
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Hey, Ho! Nobody 's Home

(Round)
EI Hungarian Folk Song

?
Divisi Rock SANDY FELDSTEIN & LARRY CLARK
Allegro . (b.1940) alv-
un6- , (b.1e63)

Writ{r in ihe key signature, circle the notes changc,:1 i¡! il're 1,',.r,,signalLlr-c, lirci: phy.

Largo
from the NewWorld Symphony n¡¡rouíru ovoñAr
(Duet) (1841-1 904)
A
-)

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f ?

-
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.Muglclq¡{st{¡F
Dynamics:

*7, t *r,1r? p.l*lo),, ngf ( melzo forte¡ Ritardando (rit.)

ffi
Egw,,
F*
Tatlis Canon Chorale
THOMASTALI

i (1 510-85)

^
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1

Scate Study

1 *Él#
\
mf Ode to foy LUDWIG Van BEETHOV]
Moderato trom Symphony No.9 (777O-r827)

nw f- D.S. al Fir

"tf -f Dreydl, Dreydl

Allegro Chanukah Sor

i@ mf
The Duck Chinese Fotk 5o¡
Moderato

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rl
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--Í,
I
Using lhe notes and rhYthms given,
j improvise or compose your own piece
. - -
I

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t
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'# Happy Littte DonkeY
i
! (Round) American Folk Sor
Andante :'' L L --
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 Sliding on Up

ln a Minor Mode

Sakura Japanese Folk Song

,---:-\

Cielito Lindo

a) _o
J
Keep right hañd dorvr throughout
Night Song
ROBERT SCHUMANN
(Duet) (1810-56)

mp legato

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' Common Time Tenuto

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ffi Chorate
lE-
CARL MARIA von WEBER
(!786-1826)

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Andante
Atlon the Right

f
Keep right hand down throughout.
JAMES PIERPONT
A New Jingle (1822_93)
Allegro ilt--

Keep right hand do\¡/r] throughout.

Kum Ba Yah

Ach! Du Lieber Augustine

Allegro

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Moderato Andante

See the Conquering Hero

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Allegro

r.h. down

Swing Low, Sweet Chariot

Andante

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Minuet (1685-1 7 5o)
Moderato llr-

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Bonjour, Mes Amis

Allegro Cajun Folk Song

Using any notes from the C Malor scaie and rhythms

you know, improvise or ccJmpose your own meiody.

Dona Nobis Pacem

lÁll A'd"r,t" (Round)

nlp legato

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Hymn of Thanksgiving
Netherlands Folk Hyn

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Wagner Technique Study

ERNEST F. WAGN
(ca. t87O-7951

Y Austrian Hymn FRANZ JOSEPH HAYI

(!732-7809)

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WOLFGANG AMADEUS MOZA

(7756-97)
Allegro D.C. al Fin
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West lndian Folk So

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Now try playing this song starting on C.
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Make New Friends
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 Amazing Grace

Marine's Hymn Traditional

Allegro ff L--'---l

D.S. al Fine

Auld Lang Syne

Scottish Folk Song

rgf tegato

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= Use alternaie fingering
Alleluia
(Round)
[Á]l m"gro WOLIGANG AMADEUS MOZART
(17 56-91\
 GUSTAV HOLST
(787 4-7934)

Andante

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Andante

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SANDY FELDSTEIN & LARRY CLARK
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After p. 10

After p.12

After p. 15

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After p. 18 Start each pattern very stowty, play 8-10 times gradually increasing speed'
2.

After p. 20
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After p. 21
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* = Use alternate fingerings

After p. 25 L or R indicates use of left or riel-,i :i:,ir,

After p. 31

Right hand down throughout.

Start each pattern very stowly, play 8-10 times gradualty increasing speed.

Right hand down throughout.

Right hand down throughout.

After p. 33
 Musicianship Review
On tines 1-3, add the bar lines and play.

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Andante

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Allegro

Dynamics Review
Number the dynamic indications from softest to toudest (i-4)

P biano) ngf{^euoforte) f fforta ?llD (mezzo piano)

- -
Tempo Review
Number ihe tempo indications from stowest to fastest (1-4).

Allegro Largo Moderato Andante

Repeat Review
On line 7, write this piece as it would be played, then p{ay

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Rhythm Review
Subtract the beats
re Addthebeats

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Mezzo Forte az¡f Medium toud
Mezzo Piano mp Med i u m soft,
12 bar blues A form using a specific chord progression Moderato Moderate tempo.
found in popular musíc.
Multipte
lst and measure rest lndiCateS more than g¡E ;-*¿53ra ¿r ¡pq¡
2nd endings Ptay the 1st ending first time through, then
on the repeat, skip to the 2nd ending.
Natural h Canceis a flat o¡ sFé p. 5tcrS :",..: '(,,
the entire m€asLire.
Rccent ] Ptay the note stronger, wíth more emphasis.
Note J A symbot that shows 41us:ii l .i ir¡if.n"
Allegro Fast tempo.
Phrase,
Andante Moderately slow tempo. Phrasing A complete musical state.r€-i
Bar line Divides the staff into measures_. - Piano p soft.
Bass clef E Atso called F cl.ef. The fourth line of the Pick-up note(s) Note(s) preceding the fir:t'.,r -^1:1-'g.
staff is the note F. the missing beats ma',, ¿ o¡-.:' - ' - *
Breath mark r A suggested place to tal(e a breath. last measure.
Canon Another name for a round, Ptay by Ear Ptay melodies wrthort ioc' -i i" .\ :'e-
notation.
Carol Song of praise usually related to Christmas.
Repeat Sign :ll Ptay the music again f rom :.e ¡+q -f -€
Chorale A hymn tune usually lyrical.
Repeat within
Chord Three or more notes piayed at the :.r s E- !
same time.
a piece ffi Repeat only the musrc bel,re¿^
Rest Asymbol thatshows ¡rus:'-:. - .-:+
Chord
Progression The movement ofone chord to another. Rhythm Organization of beats in i'rr.
Common time C Same as { time signature. Ritardando riL Gradualty stow down.

Composition A piece of music. Round Playing the same musi{ si¿.:,:rr ¡1

different times.
Crescendo < Gradually increase votume.
Scale The arrangement of notÉs *,:!lir * rr¡"¿
D.C. (Da Capo) D.C. at fine setting.
al Fine Go back to the beginning and play untit
' Fine. Sharp f Raises a note one half sle¡. !i4r't -
effect for the enti¡e i:reasr...
D.S. (Daf Segno) D.s. at fine
al Fine Go back to the X sign and ptay until Fine. slur A curved line placed abcr* :' i¿,;É1 ¡
group of notes to indicale '-.¡' '' Í. i .
Decrescendo Gradually decrease volume. - played smooth and crnrtr:r,: l;- 4;.*
Divisi d¿v.
- Divided sect¡on with some ptayers playing only the first note o; a s -'
the top notes while others ptay the bottom. Soli A solo for more than o¡:! - !': -'* ie.:
Dot lncreases the value of the original note Solo One person playing.
by one half.
Staccato J Ptaythe note lightlv ari:*l¿r¿.t{
Double Bar The end of a section of music.
Staff 5 tines and 4 spaces n:tfi ;r::' n* r .rf +',;:',:
Duet A composition with parts for two ptayers.
Tempo
markings Terms which ino.c;'+ '¡;- +;sd.' '.
Dynamic the music.
Markings Symbols that indicate [oudness or softness
of the music. Tenuto I Play futi vatue.

Fermata a Hold the note longer than its usual value. Theme
4r.t"q :' \r,#.
& Variations A mUSiCaLforn ¿""-o'.é
Fine The end. Of a theme ar? c-j-iax'. .rtÁi tF.¿el
Fht b Lowers a note one halfstep. Theory The study of i¡s ,:,:- ¡t;,1,t*'.1 ,¡d t¡¡;""i*{.*t r.*
Folk Song Music taught orally from generation posit io n.
to generation. Tie foins two noies :''-r r.*r' :I'Y' l¡#'¡:
Form The structure of a composition.
-
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Forte jf Loud. Time signature lndicates hor' r¿*'n >rü;9 .*Ft.j1 i1s:5
measufe tnd fio¿: ! *,4r .# t*i**.s*.r":f^rt**t*
lntroduction A preparation section to a composition. one be¿i.
Key signature Shóws the notes that are flat or sharp
Traditional see Foii Scrg
within a piece. L

Largo Very slow.

Treble Clef G ! .:,¡r *;u it{'ixr{:
Also c¿lleC ri::¿f ::'
thestaa;:'re-:'1
Ledger tines Used to dxtend the staff.
Tutti Everyo"r;i:ri
Legato Ptay the notes smoothly with a soft tongue. Unison ¡rn¡s. Ail plavers .r l'+ '*it' ;¿.r.'"* r{r*4 ':'r
s+:
Measure The distance between two bar tines. Warm-up Éxerciss lü l,:13*' ''-¡ r,;1{ #
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{
THEYAMAHA Musicianship from Day One
AD\ANTAEiE,^, by Sandy Feldsteín and La rry Clark
An innovative approach to band instruction that focuses on musicianship from day one.
This comprehensive method exceeds the national standards for arts education.

So What's the Advantage?

MUsIE AUTHERS
All styles emphasizing classical music Sandy Feldstein -
an internationally
and proven technique studies from recognized author of instructional
Klosé, Clarke, Kopprasch and Arban methods and composer of many
ENSEMEtLE standard compositions for beginning
bands
lncludes 17 duets, 10 rounds,
7 futt band pieces and I chorales Larry Clark one of the most
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FLEXIBILITY
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Two ways to begin each instrument
band director with proven
and three ways to begin Horn & Oboe
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L DESIGN
YAMAHA CERPORATION t]F AMERItrA
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