BOOK 1 - B> Clarinet STANDARD OF erties ENHANCED By Bruce Pearson = om POS NEIL A. KJOS MUSIC COMPANY, PUBLISHERPRACTICE JOURNAL Assignment/Goal ‘Sun, | Mon, | Tues. PwICl Musical instruments on the cover provided courtesy of the G. Leblanc Corporation, Kenosha, Wisconsin, USA.STANDARD OF EXCELLENCE ENHANCED COMPREHENSIVE BAND METHOD By Bruce Pearson Dear Student: Welcome to the wonderful world of instrumental music. The moment you pick up your larinet, you will begin an exciting adventure that is filled with challenges and rewards. If you study carefully and practice regularly, you will quickly discover the joy and satisfaction of playing beautiful music for yourself, your family, your friends, or a concert audience. [hope you have many rewarding years of music-making, Best wishes, Puce Caren Practice and Assessment - the key to EXCELLENCE! > Make practicing part of your daily schedule. If yu plan it as you do any other activity, you will find plenty of time for it. : P Try to practice in the same place every day. Choose a place where you can concentrate on making, ‘music. Start with a regular and familiar warm-up routine, including long tones and simple technical exercises. Like an athlete, you need to warm-up your mind and muscles before you begin performing. Always tune before you play. Use the tuning tracks found on the Accompaniment Recordings, or use the iPAS Tuner. Set goals for every practice session. Keep track of your practice time and progress on the front cover Practice Journal. > Practice the difficult spots in your lesson assignment and band music over and over at a slower tempo, until you can play them perfectly, then gradually increase the tempo. Use the PAS Metronome to track your progress and ensure you are playing with a steady pulse. > Spend time practicing alone and with the Accompaniment Recordings. P Assess your progress and achievements by using iP4S. Listen to the recording you create to hear the spots in the music which might need improvernent. > At the end of each practice session, play something fun! ISBN 0-8497-0753-6 © 1993, 2004 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California. International copyright secured. All ights teserved, Printed in U.S.A, WARNING! Governments around the world provide copyright laws to encourage composition and publication of new music. ‘Anyone copying this music without permission is breaking the copyright law and is subject to penalties. Please do not violate copyright laws. Do not copy or reproduce the contents of this book in any way. Thank you! Kgs NEIL A. KJOS MUSIC COMPANY, PUBLISHER Pweice2 PUTTING YOUR CLARINET TOGETHER STEP ‘Open your case rightsideup. Put the MOUTHPIECE thin end of the reed in your mouth to moisten it. Grease corks if necessary. ligature STE! per Hold the lower section in your right hand and the upper section in your lefthand. IMPORTANT: Press down the tone hole rings on the upper BARREL section. Gently twist the sections together, aligning the bridge keys, cork STEP 3 Hold the two sections in your right hand, pressing down the tone hole rings of the lower section, Gently twist on the bell with your left hand. (iy tone hole <[fif rings STEP 4 Hold the clarinet in your left hand, and twist the barrel and mouthpiece on with your right hand. Remove the metal cap tone hol and ligature before putting on q the mouthpiece. Align the flat side of the mouthpiece with the register key on the back of the clarinet. STEP 5 Put on the ligature, and slide the reed behind it. Center your reed on the flat part of the mouthpiece with only a hairline of mouthpiece visible above the reed. Tighten the screws on the ligature only until snug. Qvertighten- BELL —— ing can damage your ligature. pwcPREPARING TO PLAY STEP 1 Sit up straight on the edge of your chair. STEP 2 Keeping your thumb straight, place your right thumb under the thumb rest STEP 3 Hold your clarinet directly in front of you, with the bell between your knees. STEP 4 Curve your fingers on both hands. Keep your wrists straight. STEP 5 Your elbows should be away from your body. PLAYING YOUR CLARINET STEP 1 Remove the mouthpiece and barrel. Shape your mouth as if saying “wheetoo” STEP 2 || Cover your bottom teeth with a small amount of your lower lip. ‘STEP 3 Place the mouthpiece in your mouth to where the reed and mouthpiece touch ‘STEP 4 Rest your top teeth directly on the mouthpiece. Close your ‘mouth in a drawstring fashion with equal pressure on al sides of the reed, Your chin should be flat and pointed STEP 5 Takea ful breath of air and play a long, steady tone. Put the mouthpiece and barrel on the clarinet and play along, steady tone, CARING FoR YOUR CLARINET STEP 1 ‘After playing, remove the reed. Place it in the reed holder to dry. STEP 2 Remove the mouthpiece and wipe the inside withasofi,clean cloth. Remove the barrel and draw the swab through it. Remove the upper section and swab it out by dropping the \weightinto the top end and pulling the swab through. Do the same for the lower section. STEP3 Dry each joint, and then wipe the outside of your darinet with asoft, clean cloth. Carefully put away all parts of your clarinet and latch your case, pw2icl,FOR CLARINETS ONLY. Tae 4 sctiine ORR EE I E Is FOR EXCELLENCE E p=" t D- A double bar line marks the end of the music. DOUBLE DECKER D Use plenty of air ALL TOGETHER D Are you playing with a good embouchure and hand position? [EXTRA PRACTICE Ed CLARINET CAPERS = > How is your posture? pwrictFOR WOODWINDS ONLY THES ae EME NE ouEEE EE SS Se + 0 THE FIRST NOTE E "] E 8 10010 © = open © = pressed down D> A double bar line marks the end of the music BB THE SECOND NOTE D D By TEA FOR TWO > Use plenty of air. THE THIRD NOTE THREE OF A KIND > Are you playing with a good embouchure and hand position? [@l THREE’S COMPANY Hd woopwinD WHIRLWIND = > How is your posture?FOR THE FULL BAND THRE? ocltne Ey TIME FoR BAND i" oe ' © = open DA double bar line marks the end of the music. © = pressed down By THE FUN CONTINUES — lily z WHOLE | LOTTA COUNTING 200101 coojose D> Write in the counting and clap the rhythm before you play. EW Four score Page 39 i> <4 as £ = = = = > When you see a page number followed by an arrow, Excellerate to the page indicated for additional studies. MIX’EM UP coojeee, MELTING POT = EZ BAND ON PARADE GE = = > Lines with a medal are Achievernent Lines. The chart on page 47 can be used to record your progress.A BREATH OF FRESH AIR D Be sure to take a full breath of air SIDE BY SIDE TWO BY TWO HALF THE PRICE - Write in the counting and clap the rhythm before you play. [By CARDIFF BY THE SEA SB) Pace 39.000 Welsh Folk Song [TB Two For THE SHOW- Duet A ‘ = = GO FOR EXCELLENCE!© A QUARTER’S WORTH D- Write in the counting and clap the rhythm before you play. HOT CROSS BUNS English Folk Song clap [id Au CLAIRE DELALUNE GD French Folk Song > Draw in a breath mark at the end of each phrase. DOWN BY THE STATION Traditional EASY STREET COUNTRY WALK English Folk Song Bal GETTIN’ IT TOGETHER G | | FOR CLARINETS ONLYEGREAISICN) EGMMOKTIME (eRMATA) | 1 Oe MERRILY WE ROLL ALONG 2239 Page 39 1p > Write in the note names before you play. BZ] LIGHTLY ROW- Duet Traditional AL + a ONE STEP AT A TIME > Write in the counting and clap the rhythm before you play. y] GOOD KING WENCESLAS ‘Traditional English Carol Solo/Soli 9 Tutti » Solo/Soli » Tutti SONG OF THE FJORDS Norwegian Folk Song Solo/Soli > Tutti Solo/Soli, + Tutti Composer. your name : »Jdil. D Filin the rest of the measures using the given rhythms and any notes you know. Title and play your composition. GO FOR EXCELLENCE! BS Pw2iclWARM-UP =" TIED AND TRUE SS Page 39 iit co9io0 —, SF SS D> Roll your first finger up to the A key and down to E. BB JOLLY OLD ST. NICHOLAS - Duet ‘American Carol A > 2 > a AMIGOS Mexican Folk Song + > Keep on playing! D> Write in the counting and clap the rhythm before you play. FARM OUT Traditional FOR CLARINETS ONLY G9 D Are you rolling your first finger? pw2ichMARK TIME =" 3 8 SWEETLY SINGS THE DONKEY - Round 1 2 92 . MARY ANN West Indies Folk Song Solo/Soli Tutti Solo/Soli Tutti D Write in the note names before you play. CRUSADER'S MARCH GBP editor > Write in the counting and clap the rhythm before you play. BALANCE THE SCALES Draw one note or one rest to balance each scale, dt d J ditt - az 7X A A a GO FOR EXCELLENCE! Pw2ichRASA RSERa re | BALANCE BUILDER Tonic aw Subdominant a. Dominant a Tonic ; A 4 us aN 5 unis +7 JINGLE BELLS 1gement J. 8. Pierpont (1822 - 1893) Hand Arrangement arr. Chuck Elledge (b. 1961) ; 2 2 ‘ -G]_ _s z o> SCHOOL SONG Solo/Soli 2 Tutti . Solo/Soli » Tutti FOR CLARINETS ONLY >EIGHTH NOTE ENCOUNTER = = == = = SSS SSS SS - J J J J > write in the counting for the top line before you play. JIM ALONG JOSIE => ‘American Folk Song EIGHTH NOTE EXPLORER SSS 3 J | | | Write in the counting for the top line before you play. GO TELL BILL Gioacchino Rossini (1792 - 1868) GO FOR EXCELLENCE! G2EIGHTH NOTE EXPRESS. * oS = = —— got tases Zt dap 4 D- Write in the counting for the top line before you play. Ei skip 1, tou ‘American Folk Song Solo/Soli Solo/Soli Tutti EIGHTH NOTE EXPERT fs SS J spr | D- Write in the counting for the top line before you play. MEXICAN MOUNTAIN SONG > Mexican Folk Song, BAFFLING BAR LINES D Write in the counting and draw in the bar lines before you play. FOR CLARINETS ONLY 2D > Be sure to roll your fist finger.15 en E 1 i Johannes Brahms (1833 - 1897) [BG] ERIE CANAL CAPERS ‘American Work Song LAUGHING SONG - Round Traditional 1 22 STAR SEARCH Wolfgang Amadeus Mozart (1756 - 1791) D Draw in the missing notes for “Twinkle, Twinkle, Little Star" before you play. GO FOR EXCELLENCE! GDCLIMBING STAIRS B flat (Bb)|4| ty $ = c09I0 BINCO > American Folk Song also played 8b t+ THERE’S MUSIC IN THE AIR George F. Root (1820-1895) THERE’S THE SAME MUSIC IN THE AIR George F. Root (1820- 1895) Circle the note changed by the key signature. SCALE SKILL Page 39 (I> Se cu FOR CLARINETS ONLY GPWARM-UP Se? Va << Se f (D CHANNEL THREE = 7 ete —— as a oe | L | | LJ 4 il f I f I I f > Write in the counting for the top line before you play. HZ] DOWN IN THE VALLEY GE ‘American Mountain Sonig f ie £ e BROTHER MARTIN - Round Latin American Folk Song 1. Sf P THE LITTLE FISH Australian Folk Song D> Draw in a breath mark at the end of each phrase, Go FoR Excettence: BD Czech Fol Song “When Love Is Kind” St ss & 8WARM-UP B flat (3b) is OLD BLUE Traditional Solo/Soli Tutti . THIRD TIME AROUND ie D Circle the notes changed by the key signature. Se EY Hid LULLABY - Duet Traditional i‘ oe <3 ee <3 F HO MINUTEMAN MARCH = Robert Frost (b. 1942) tf . , also played 84 P # FOR CLARINETS ONLY 2 Page 40 um s : > - - - 2 atemate f . : = . D “Use the alternate fingering when moving from Bb to Bor B3to Bb.MEXICAN HAT DANCE Mexican Folk Song = \ rE: SS a es 7 - > “oF Fs ahaha hatha hap hth h FRERE JACQUES - Round French Folk Song $2. 13. 24 f g-s MORNING MooD &2> Edvard Grieg (1843 1907) P aoe" MING COURT Chinese Folk Song > Write an S under each slur and a T under the tie before you play. GO FOR EXCELLENCE! > f : D- “Use the alternate BY fingering. pworei20 ‘The written piano accompaniment SAWMILL CREEK for SAWMILL CREEK is included on ‘rack 1 of CD 2 for easy access in a Solo with Piano Accompaniment performance situation Bruce Pearson (b. 1942), 6 p 2 fl ‘ +5 Fh 5 Clarinet D Go back to the first repeat sign. —t A Piano {© 1992, 2004 Neil A. Kjos Music Company. Page 20 is authorized for duplication to meat spectic requirements fr fetal, ‘contests, and competitions. A photocopy may be distributed to an accompanist All copies must be destroyed after the event.Count 12342234 MONTEGO BAY Calypso Song va Dw Band Arrangement art. Chuck Elledge (b. 1961) 4 i his. g ora ° + 9 v8 ry ¥ Isttime 2nd time 2 “Use the alternate BM fingering, F REGAL MARCH Band Arr at Bruce Pearson (b. 1942) —— arr. Chuck Elledge (b. 1961) 1 a iy. 5 6 ss 2 a A Ss Ur 2. 10 unis . 2 e 3 Soe Ss L pw2icL22 WARM-UP eaclece [BB FULL OF HOT AIR f z f P DANZA GIOVANNI SS ltalian Folk Song = z f ED C MAJOR SCALE SKILL (Concert Bb Major) Sf Chords dv. THE MAN ON THE FLYING TRAPEZE George Leybourne (1842 - 1884) i, ey eo £ Go back to the first repeat sign. —f Composer : / Ad your name Q D> Using the given rhythms, draw in notes to complete the melody. Title and play your composition. GI FOR CLARINETS ONLY G2 Pw2ictLOOK SHARP Page 40 1> FH F sharp (Fy 2 f also played #4 AURA LEE G.R. Poulton (d. 1867) > Circle the notes changed by the key signature. BARCAROLLE Jacques Offenbach (1819 - 1880) oe P JUST BY ACCIDENT GSB Page a0.um> F sharp (FQ), > 8 5 alternate 3 fo ° + + SF D> * Use the alternate F# fingering when moving from Fito For Fbto FR G MAJOR SCALE SKILL (Concert F Major) f : Arpessio a a SAILOR’S SONG Solo/Sol » Tutt I 2 fi GO FOR EXCELLENCE! ‘American Folk Song “This Old Man” >> S f pwcWD warm-up = f IN THE POCKET f POCKET CHANGE f OD stRICTLY BUSINESS pe lie Wa 8 > *Use the alternate Bl fingering. [1 SMOOTH SAILING = SO pS Johann Strauss, Jr. (1825 - 1899) < > Pp f THEME FROM “HANSEL AND GRETEL” Engelbert Humperdinck (1854-1921) DC. al Fine . Fine ° ad P FOR CLARINETS ONLY G2 ~ P f fe NAS S82 > “Use the alternate F4 fingering. Pw2icl25 [OA THAT'S AWRAP Page 40 11> El E 2 > — EL f HY POLLY WOLLY DOODLE ‘American Folk Song Ble tears a3 f || ow et | foot stomp 4 > ft . Iz. 3 Boge [Pras eS de errr ss i, nt}, ny Ln | | I I I I | VOLGA BOAT SONG Russian Folk Song, a Composer. ‘your name 14 Z Hand Clappers Knee Slappers 13 ho 2 fLOTL > Compose a duet (accompaniment) part for Knee Slappers. The first measure has been completed for you. Title and perform your composition, GO FOR EXCELLENCE! Tielman Susato (1500? - 15612) “Ronde” > P Sf aiePA WARM-UP - Band Arrangement . iw f a : SHORT CUT , OTe aaa Coa aS POON OOOO ono > Write in the counting for the top line before you play. G2 SPOT THE DOTS fe am se * sho FOOL LAr) or) Feel the pulse of three eighth notes during each dotted quarter note. ALL THROUGH THE NIGHT f—) Welsh Folk Song we # WG atouerte French-Canadian Folk Song Fine —< _# P DEC. al Fine =27 JUST A LITTLE OFF THE TOP 5 lily _p © Ml 4) a D Are you using a fast airstream? TOP DRAWER - Duet A. Sf HOME ON THE RANGE Danie! E. Kelley (1843 - 1905) — > Circle the notes changed by the key signature. THE CONQUERING HERO - Duet George Frideric Handel (1685 - 1759) s a = f a f - <—— \3EB] HIGH WINDS AHEAD W Andante Gc i 3 8 f [BA LOOK BEFORE YOU LEAP Moderato — oe f {| F MAJOR SCALE SKILL (Concert Eb Major) G2) Allegro z mf hy Arpeasio Sere a = [Bd VARIATIONS ON A THEME BY MOZART ‘Wolfgang Amadeus Mozart (1756 - 1791) Moderato Theme(main melody) + Variation 1 (time signature changes) ™ ,, Vatiation 2 {rhythm changes) ., Variation 3 (melody changes) FOR CLARINETS ONLY GB Andante — es WP <— ama &WALTZ STREET Moderato nf THEME FROM “SYMPHONY NO. 9” > Ludwig van Beethoven (1770-1827) READY ORNOT Page 41 it Andante r > Keep your right hand fingers on the holes throughout this exercise, [HE ACH! DU LIEBER AUGUSTINE German Folk Song Allegro f mf P “MS > > me GO FOR EXCELLENCE! Moderato 9 E ————F eo > Pay using each ofthe lowing artcuations ADI 3D -n pwrier30 BALANCE BUILDER Tonic iv. Subdominant div, Dominant div, Tonic a 3 is a i nis A TRUMPET VOLUNTARY Band Arrangement sal tata Moderato Jeremiah Clarke (16782-1707) arr, Bruce Pearson (b. 1942) div a “ 18 div31 SAKURA - Duet Page 41 a> Japanese Folk Song, ——. >= D> Draw in a breath mark at the end of each phrase. @] GRANDFATHER'S WHISKERS G2 American Folk Song Moderato af TWINKLE VARIATION ‘Woligang Amadeus Mozart (1756-1791) Variation (Co > Compose a variation on “Twinkle, Twinkle, Lite Star.” pwoich32 1133] (PARTNER SONGS - Duet American Spirituels “Swing Low, Sweet Chariot” P “All Night, All Day” E] MANHATTAN BEACH MARCH 2239) John Philip Sousa (1854 - 1932) Allegro Introduction + Theme £ D “Use the alternate Fi fingering. DYNAMIC DECISION Write in the following dynamics from softest to loudest| mezzo forte piano forte mezzo piano softest + loudest {J FOR CLARINETS ONLY GP33 “LARGO” FROM THE NEW WORLD SYMPHONY 2223) Antonin Dvoisk (1841-1904) Largo a - = i mp —= mf =— Pp > "Use the alternate Bt and Fi fingerings. CHORALE - Duet Lowell Mason (1792 - 1872] rgo A _ 8. mp np f af f=? TEMPO TIME Write in the following tempos from slowest to fastest: Andante Allegro Moderate Largo slowest GO FOR EXCELLENCE! Allegro. > fastest nf <34 RICOCHET ROCK Chuck Elledge (b. 1961) Allegro — 7 = et —r fs: — SSS en ees Pep fe eb a LOCH LOMOND €2 Scottish Folk Song Moderato SHALOM, CHAVERIM. Hebrew Folk Song ndante D Draw in a breath mark at the end of each phrase. a Composer your name D Compose an ending for this melody. Title and play your composition. FOR CLARINETS ONLY GD Moderato ee | al aan ——_~ > : nf35 GRANDFATHER’S CLOCK Henry C. Work (1832 - 1884) Moderato Fine nf DC.al Fine Circle the notes changed by the key signature. KUM BA YAH icsa FoR Song Largo Ey GRANT US PEACE - Round German Canon > Keop your right hand down for all notes above the RHD__. GO FOR EXCELLENCE! SS Moderato nf o> a p—— p—4f r= Sf —— ™36 MUSETTE Johann Sebastian Bach Solo with Piano Accompaniment (1685 - 1750) Clarinet Piano uf 2. mf Kos Music Company. Pages 36 and 37 are authorized fr duplication to meet specie requements fr festivals, ‘contests, and competiions A photocopy may be disibuted to an accompanist. Al Copies must be destioyed after the event © 1993, 2004 Neil A.3738 ROCKIN’ RONDEAU Band Arrangement Based on a theme by Jean-Joseph Mouret (1682-1738) ar. Chuck Elledge (b. 1961) pworch39 (itl EXCELLERATORS-For CLarinets ONLYil EXCELLERATORS-For Ciarinets ONLY > *Use the alternate Bt fingering, 92 = SS SN D “Use the alternate FF fingering. alternate alternate E ts Keep your right hand down for all notes above the RHD __|. agit)SCALE STUDIES C MAJOR SCALE (Concert Bb Major) Arpessio Thirds F MAJOR SCALE (Concert Eb Major) pepeasio \ : G MAJOR SCALE (Concert F Major) rpeaio 4| Thirds Bb MAJOR SCALE (Concert Ab Major) Arpeegio Thirds CHROMATIC SCALERHYTHM STUDIES Tre mb He { Bed Bey ed pd Judd, Ldddy pds ldap dla dg Sp baldaapatdeg Spdvaat alae dase Medd ddd dldy pellet edd dl Me aeadiaedtaesieedy Spdeddy dedi dal daddy Middl dh dy Mh dada ded Jide dade Splat SU US Ld Ly spd Jd yd Jd JJ JJ Jp |RHYTHM STUDIES 4 Inn, Say Som, oom Amy MUA ay = Onan STL yO Ot BAA Jonna, MMOL, SAU o nny Sawin ay ploy, fy 4,80), 80-4 4,0 0,.0, Me 1 OO, oom, Musou. diy MB bd ky Md dL byRHYTHM STUDIES P4 4 SH 4 ey 8 peta hy ett tly PSD ooy Bonny c pO thy 400,004 3 4g gl J_jJ ij 4 gd diddy Medd y dy gedit ghoatbotbottiey ua pip y sadetdy i) qiAliniy Glinwiny, Ba qinnnny GiriyoiyGLOSSARY/INDEX ‘Accent (p.19)>. _aitack the note louder ‘Measure (pp.4-6) space between two bar lines; also. Accidentals (pp.16, 18, 23yph yl ‘sharp, fla, or natural known as a “bar” Allegro |p.28). . 1 egick and lively Mezzo Forte |p.28] mf ‘medium loud ‘Andante (p.28).. 0... moderately sow ‘Mezzo Fiano (p 28) mp medium sot Apeggi (pp.2223, 28,42) totes acho played one at atime Maderato[p.28) « s emodeate speed Articulation (pp.15, 19, 39). ..... . type of attack used to play a note or ‘Mouret, Jean-Joseph (038). French composer (1682-1738) ‘group of notes Mozart, Wolfgang Amadeus (pp.15, Bach, Johann Sebastian (99.3637). . German composer (16851750) 28,31) ‘Austiian composer (17561791) BarLine (p46) ives the musi sal ino measures Natural (p18) 4» - arcs ao sharp Beethoven, Ludwig van (0.29). . . . » Geiman composer (1770-1827) (Offenbach jacques (p.23) French composer (1819-1880) Brahms, johannes (0.15)... .. - . - Getman composer (1833-1897) ‘One Measure Repeat (p.19) x tepeat the prewous measixe Breath Mark (p.7) 9 take a breath Pearson, Bruce . . . ‘American composer/author (b. 1942) Chord (99.22.23, 28). ‘two or more pitches sounded at the same Phrase (p8)..... . “musical thought or sentence time Pian p17) P “sal Chromatic Scale (942) scale of hal steps PidUp Noll) (6.15)... - note or nots that come befor fest Clarke, jeremiah (9.30)... ... . . . . English composer (16747-1707) ful measure. Common Time (9.9) sane sf Peron 1S (0.12) -Amercan compose (18221683) Crescendo (p.29) —— gradual play louder Poulton, GR. (023). . + American composer (41867) Da Capo al Fine (p24) D.C al Fine. go back othe begnring and play untd Repeat Sign (pp.9,20) | + srepeat from begining or repeat section the Fine ‘of music benveen repent signs Decrescendo (9.29) —— srahaly play softer Ritardando (citar or rit) (p31)... gradually sow the tempo Divisi |p.12) ‘part of the section plays the top notes: Root, George F. (p.16).... American composer/publisher and pa ofthe acton pas he (18201655) ‘botiom notes Rossini, Gioacchino (p.13). . . . . . Italian composer (1792-1868) Dominant (pp.12, 30) é fifth note of a scale; chord built on fifth Scale (pp.22-23, 28, 42) . collection of pitches arranged from low- note of a scale ‘€st to highest or highest to lowest. Double Bar (pp.46| «aks he end ofthe music sharp (9.23) # ‘aises the pitch of a note Ye step ‘Dvorak, Antonin (p33) Czech composer (1841-1904) ‘Slur (pp.15, 39). . «curved line that connects two or more: Dynamics (pp.17, 26-29) . loudness oF soltness of music ‘notes of different pitches ledge, Chuck (pp.12, 21, 34, 38). » » American composer (b. 1961) Soli (p.9) cole secon plays ‘Embouchure (p.3) e mouth formation used to play an Solo (p.9) . ‘one person plays instuent Sous, john Philip (9.32). » Amencan compose 7854-1932) Fermata (p.9) 7S hold note or rest longer than its usual value Staff (pp.4-6) ines and spaces on which music is Island 2nd Endings (9918-20)... play Ist encing frst time through; then, waiten i repeal music, sip firs ending, and play Strauss, Johann Jr. (p.24). . «+ Ausirian composer {1825-1899) = 4 2nd ending ‘Subdominant (pp.12, 30) . fourth note of a scale; chord buik on Flat (p.16) » nee lowers the pitch of a note 2 step fourth note of a scale Forte (p.17) loud ‘Susato, Tielman (p25) «+ Belgian composer (15002-15612) Frost, Robert (p.18) ‘American composer/author (b, 1942) ‘Tempo (pp.28, 31, 33)... . .. - . -speed of music Grieg, Edvard (9.19). . ‘Norwegian composer (1843-1907), ‘Theme (pp.28, 31-32) ‘main musical idea in a piece of music Handel, George Frideric (9.27)... German composer (1685-1759) Tie [pp.10.39). ... -. + ++» » scunvedtine that connects two notes of Harmony (pp.7, 9-10, 12, 18, 21-23, the same pitch; tied notes are played 2628, 30-33, 38) |1wo or more different notes played or as one unbroken note ‘ng atthe same tine Time Signature 0:46 910, 17). top nunber ts you ruber of couns Humperdinck, Engelbert (p.24). . German composer (1854-1921) im each measure; botom number tel Inter stance between two notes YoU the type of note that receives Introduction (9.32)... - section of music that precedes the ‘one count first theme Tonic (pp.12, 30) first note of a scale; chord built on first Kelley, Daniel (9.27) ‘Amesican compose (18431905) note al sale Key Signature (11, 16,23)...» sharps or fats sited cg alter the cet; Treble Clef (pp) = Cet rad by fate, oboe, caine, key signatures change certain notes saxophones, trumpet, french hoen & Yacughout apiece of mak malt percussion Largo (p33) sow Tutt (p9) everyone plays Ledger Line pp.46). « -.. « «+ » Shot ines wsed to extend the staff Unison (p.12) ‘1 everyone plays same noes al ijl Leybourne, George (p22) English composer (1842-1884) Vasiation (9p 2, 31). repeeted musical idea which bas been 3 ‘lig changedin some way om Long Rest (0.21) rest the number of measures indicated the original Mason, Lowell (p 33) .. American composer (1792-1872) Work, Henry C. (9.35)... . . . . . 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The chalumeau had two keys and a single reed. Its range was low and limited, Inmemory of the chalumeau, thelow rangeonthe larinet of today is called the chalumeau register. ‘Around 1700,a German instrument maker named Denner invented the clarinet by improving the chalumeau. By 1750it had 5 keysand soon became part of the orchestra. Keys kept being added so that more notes could be played. In 1844, two French musicians named Buffet and Klosé applied the Boehm flute key system to the darinet. This consisted of 2 steps. First, they placed each hole so that, each note would have the same tone quality. Then, they made a key system to cover all of the holes. It was a success, and the Boehm system clarinet became popular around the world. Today, clarinets are played in bands, orchestras, dance bands, and woodwind ensembles. Itis often featured as. a solo instrument. Clarinets are usually made of African blackwood (also called grenadilla), but can also be made of ebonite, plastic, or metal CLARINET SURVIVAL KIT Ciswab Dsoft, clean doth Cextra reeds Creed holder D cork grease pencil Cimethod book band music Oi music standBb CLARINET FINGERING CHART When more than one fingering is shown, the fist is the most com- O=open — @= pressed down monly used. Additional fingerings, known as “alternate” fingerings, are used in certain situations to allow for better technique. et F Fa Ge G ct ay A At Bb fe OF = fo oo We | ip | ol 2 s s s 3 8 Bc oBF oc Oct pte cE om oF [od o be | fo © | fe 7O = fo = oo I y dl Be | Mp |i | My My le) tly | te 2 x a) pr Fas 2 2 8 3 8 8 3 8 8 8 8 8 8 8 38 8 8 8 at @ G Gtooalb A at Bb 8 cb Be £ lon = o— | foo = ips —————— a ‘ lle le | Me} Wa fay] dy 2S 8 8 2 3 g fo 8 8 8 3 8 8 8 8 8 8 6 6 6 6 8 8 cheb D pte E 5 er HOG c es ©. y Ws Ws ily 2 s s s 9 3 8 8 BO Bec ct D> D abs ta = t2 '2 2 = cooloce = 2001000 ooeloce pwzia.,BRUCE PEARSON'S STANDARD OF EXCELLENCE The complete curriculum for the instruction of beginning and intermediate band students = Comprehensive Band Method = = ENHANCED Comprehensive Band Method « = Music Theory & History Workbooks = = Accompaniment Recordings « in Concert Repertoire = Sounds of the Season = * First Performance « Festival Solos «© * Festival Ensembles » Jazz Ensemble Method = * Jazz In Concert Repertoire = Jazz Combo Session = = Award Pins & Medals = What is the Standard of Excellence ENHANCED Comprehensive Band Method? For years, Bruce Pearson's Stenderd of Excellence Comprehensive Band Method has been the leader in the world of instrumental method books. While the book remains the serne, DaiPAs| ENHANCED ithas been enhanced to include two CDs containing all Accompaniment Recordings, plus m4 IPAS, and the iPAS Tuner Metronome. The Standard of Excellence ENHANCED Comprehensive Band Method takes learning to a whole new levelt Who can use the Accompa went Recordings? Accompaniment CD Requirements: Anyone who has access to a CD player and their Standard of Excellence book can play + Any standard CO play along with the Accompaniment Recordings. Pag? nequirements What is iPas™? ‘Mierosot windows Interactive Pyware Assessment Software + Windows 98 or greater PAS) is a unique and innovative tool oo + 512MB of RAM or greater designed to help you learn to play your ‘musical instrument. Once IPAS is installed on your computer, simply play along with the IPAS accompaniment and iPAS will grade and even record your playing. The notation utlized by iPAS indicates the areas where you need improvement or where you were 100% successfull The easy-to-use iPAS Tuner and ‘Metronome can also be used throughout Your practice session to further develop your pitch and rhythm skis (1G8 recommended) + 12 GHz processor or wea (16 GHe recommended) 250 MB Hard dive space + Eaomnal mirophone not included (computer's internal microphone will not procice acceptable resus) + Intemet access required for some functions Apple Macintosh + 05 10.4 or greater IMB of RAN or greater (1G recommenced) Who can use iPAS? 2 Ghz processor ot greater (16 GHz recommended) 250 MB hard crve spec + External microphone and USB intorfice =nol included Al instrumentalists who have access to a computer may use the iPAS Tuner Metronome at every practice session. IPAS will record and assess Woodwind and Brass players who use Standard of Excellence, Book 1 How can iPAS assist band directors? By using the iPAS Teacher’s Edition, cltectors can send assignments ancl announcements; EST acces es or toy neon collect and listen to recordings completed by students at home; search, sort, and print grades ‘with many parameters; and upload lessons and exercises to all students simultaneously. WMI 780849) 1 20000> 5 WMI NEIL A. KJOS MUSIC COMPANY, Publisher