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F HORN BOOI( I EgSENTIAL GO'nPREHENSI\/E BAND TNETHOD TI'N LAUTZENHETSER JOHN HIGGIN!'" GHARTES |nENGHTNT PAUI LAVENDER TOfi'I C. R.HODES DON BIERSGHENK -Bt NHAL.LSONARD. a1-

ESELSENIIA TS CON'IPREHENSI\/E TI|n LAUTZENHEISER PAUL TAVENDER JOHN HIGGINS TOTN G. RHODES F HORN BOOK I GHARTES N'IENGHTNI DON BIERSGHENK Band is... Making music with a family of lifelong friends. lf nderstanding how commitment and dedication lead to success. Sharing the joy and rewards of working together. lndividuals who develop self-confidence. Greativity-expressing yourself in a universal language. Band is...lUlUSlG! Strike up the band, Tim Lautzenheiser I I he modern horn evolved from 16th century hunting horns. These instruments did not have valves, and changed notes by using various'trooks" or tuning slides. Most horn players had to perform with several crooks that allowed them to play the correct notes. ln 'f 660, the trompe was introduced in France. This instrument! tubing had 2 1/2 coils, and retained the nickname "French" horn. However, German instrument makers actually perfected today's horn. Stolzel and Bluhmel added valves to the horn in 1818, which eliminated the need for crooks. Rotary valves, introduced in 1853, are commonly found on today's horns. "Single" horns in F have 3 valves, while "double" horns in F/Bb have 3 valves and a thumb key. Horns provide an important,full middle voice in the concert band. They blend wellwith all instruments, and play solos, melodies and harmonies. Mozart, Beethoven, Mahler, R. Strauss and Wagner are all composers who have featured horns in their writing. Two famous horn performeri are BarryTuckwell and Philip Farkas. tSBN 0-634-00321-6 copyright o 2004 by HAL LEONARD CORPORATTON Yi:al Copyrisht Secured All Rights Reserved ZtHeL.LEoNARD. \J- C O F? P O IR A T I O NI 7777 W. BLUEMoUND RD. p.O.BoX t38l9 MtLWAUKEE, v\/t S3213

THE BASTGS Postrire Sit on the edge of your chair, and always keep your: . Spine straight and tall ' Shoulders back and relaxed . Feet flat on the floor Brecrthing & Airstreerm 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. ltproducesound through the instrument. Your tongue is like a faucet or valve that releases the airstream. Producing lhe Essenticrl Tone "Buzzing" through the mouthpiece produces your tone. The buzz is a fast vibration in the center of your lips. Embouchure (ahm'-bah-shure) is your mouth's position on the mouthpiece of the instrument. A good embouclrure takes time and effort, so carefully follow these steps for success: BUZZING . Moisten your lips. . Bring your lips together as if saying the letter "m." . Relax your jaw to separate your upper and lower teeth. . Form a slightly puckered smile to firm the corners of your mouth. . Direct a full airstream through the center of your lips, creating a buzz. . Buzzfrequently without your mouthpiece. MOUTHPIECE PLACEMENT lf you are switching from trumpet to horn, note that the horn mouthpiece placement is nearly the opposite as the trumpet mouthpiece placement. Form your I'buzzing" embouchure. Place the mouthpiece approximately 2/3 on the upper lip and 1/3 on the lower lip. Your teacher may suggest a slightly different mouthpiece placement. Take a full breath through the corners of your mouth. Start your buzzwith the syllable"tah." Buzzthrough the center of your lips keeping a steady, even buzz. Your lips provide a cushion for the mouthpiece. I I RE5T I rttoht' MOUTHPIECE WORKOUT Using only the mouthpiece,form your embouchure carefully. Takq 3.d&p.breith without raising your shoulders. Begin buzzing your lipS by whispering "tah" and gradually exhale yotlr full'airstream. Stri\re for an even tone. liuking Gcrre Of Your lnslrumenl Before putting your instrument back in its case after playing, do the following: . Use the water key to empty water from the instrument. Blow air through it. lf your horn does not have a water key, invert the instrument. You may also remove the main tuning slide, invert the instrument and remove excess water. ' Wipe the instrument off with a clean soft cloth. Return the instrumento its case. . Remove the mouthpiece. Once a week, wash the mouthpiece with warm tap water. Dry thoroughly. Horn valves and slides occasionally need lubricating. Your director will recommend valve oil and slide grease, and will help you apply them when necessary. "to.ht' REST

Getting lf logether Slep I Hold the horn in your left hand, and place the bell of the instrument on your right thigh. mourhpiece receiver The bell should point backwards, slightly angled to the right. Step 2 Use your right hand to gently twist the mouthpiece into the mouthpiece receiver. Step 3 Place your left thumb inside the thumb ring. Your fingertips should rest on the valves. Place your little finger in the hook. Step 4 Cup your right hand slightly. Keep your fingers together and put your thumb against your index finger as shown below. Place your hand inside the bell. The back of your fingers should touch the far side of the bell. Always sit up straight when playing. Hold the horn as shown: vqlves 123 mouthpiec"\-rr, vcrlve slide Step 5 Single Horn,/Double Horn Fingerings The fingerings used throughout the exercises in this book are intended for students who are playing a Single F Horn or a Double F/Bb Horn. Single F Horn players should always use the fingerings that are indicated for F Horn. For Double Horn players, notes commonly played on the "F side" of the horn are shown only with F Horn fingerings. For notes that are preferably played on the "Bb side"ofthe horn,the Bb Horn fingering is shown in addition to the F Horn fingering. Students with Double Horns should add the thumb key and use the Bb fingering where indicated. Students who may be playing a Single Bb Horn will need to refer to the fingering chart in the back of this book for the proper fingerings for Single Bl Horn. READING MUSIC Music Stoff The music staff has 5 lines and 4 spaces where notes and rests are written. ldentify and:draw each of these symbols: Ledger F"t Ledger lines extend the music staff. Notes on ledger lines can be above or below the staff. Meqsures & Bor Lines Measure Measure A A Bar Line :i\ Bar Line g Bar Line Bar lines divide the music staff into measures.

LongTone H I. THE FIRST NOTE To begin, we'll use a special"Long Tone" note. Hold the tone until your teacher tells you to rest. Practice long tones each day to develop your sound. Hold each long tone until your teacher tells you to rest. NEJ I tltrJ I 7 "G" is played with open valves. Just rest your fingers lightly on the valves. The Beqt The beat is the pulse of music, and like your heartbeat it should remain very steady. Counting aloud and foot-tapping help us maintain a steady beat. Tap your foot down on each number and up on each "&." Onebeat = 1 & JT 2. COUNT AND PIAY Nofes And Resfs Notes tell us how high or low to play by their placement on a line or space of the music staff, and how long to play by their shape. Rests tell us to count silent beats. I I a Quarter Note = 1 beat \ t Quarter Rest = 1 silent beat .j A a} tj I & 2 & 3 a 4 & 1r 2 & 3 p 4 & 1& 2 & 3 & 4 & 1& 2 & 3 a 4 & ,TJTITJT JTJTJTJI I1TIJTJT JTJTJTJT Count: Tap: 3. A NEW NOTE Look for the fingering diagram under each new note. '# FHorn: OOO .\ f REST REST The black circles tellyou which valves to push down."F" is played with l st valve. 4. TWO'S A TEAM A A A A I t I t YYYV Count&Tap: 1 HEADING DOWN Practice long tones on each new note. & 4 & &2& & 4 & & 2 & & 4 & 5. 6. MOVING ON UP t\\\ ,,, I A A at) . A i et -t -t 2t A ll It t t --\y

High "C" is played open. Just rest your fingers lightly on the valves. Double Horn Players: add the thumb key and use the& Horn fingering. lonsrone _.+ Ii"?illi:i,ili,Tl"'l!Iiiili"lil:1"*:':;I'Jijfijtiil,J;;,li**. | . THE FIRST NOTE Your teacher will tell you which line to play firsg and how long to hold each tone. ,ffi FHorn: O O O BbHorn: TO O O 12 3 FHorn: OOO 12 3 The Beot The beat is the pulse of music, and like your heartbeat it should remain very steady. Counting aloud and foot-tapping help us maintain a steady beat. Tap your foot down on each number and up on each "&." Onebeat = 1 & JT 2. COUNT AND PIAY Low "C" is played open. Just rest your fingers lightly on the valves. @-r Nofes And Resfs Notes tell us how high or low to play by their placement on a line or space of the music staff, and how long to play by their shape. Rests tell us to count silent beats. I J Quarter Note = 1 beat \ $ Quarter Rest = I silent beat Count: Tap: 3. A NEW ffi FHorn: OOO BbHorn:T O O O ,ffi FHorn: O O O ffi 1 a J 1 NOTE 2 & 3 & 4 JTJTJ 4 & 1& 2 & 3 & 4 & t & 2 & 3 & 4 & J1 J1JTJTJT JTJ1JTJT &1&2 1 JTJ &3& ttf tvl Look for the fingering diagram under each new note. 4. TWO'S A TEAM Count &Top: 5. HEADING l&2&3&4&t&2&3&4 DOWN Practice long tones on each new note. Double Horn Players: add the thumb key and use the& Horn fingering. & 4 & &2&3&4& FHorn: OOO BbHorn:TOOO FHorn: OOO 6-_ > 6. MOVING ON UP The black circles tell you which valves to push down. "Bb (Bllat)" is played with l st valve. Double Horn Players: add the thumb key and use theBb Horn fingering. I I !i -r l^ a:l h a I I (.l V - Count&Tap: 1 @-1. & 2 & 3 a 4 &

Doubte Bcrr - :liT['J|;;H,. Repeot Sign Without stopping, play once again from the beginning. Double Bar .7 7. THE LONG HAUI ffi FHorn: OOO 8. FOUR BY FOUR Repeat Sign 1 I t Count&Tap: I & 2 9. TOUCHDOWN & 3 &4& & 2 & 3 &4& ffi FHorn: OOO I O. THE FAB -@F+ FIVE a t Time Signoture indicates how many beats per measure and what kind of note gets one beat. = 4 beats per measure = Quarter note gets one beat raises the note and remains in effect for the entire measure. lowers the note and remains in effect for the entire measure. cancels a flat (b) or sharp (f) and remains in effect for the entire measure. NOTES Compare this to exercise 1L,THE FAB F|VE. Nofe Nqmes Each note is on a line or space of the staff. These note names are indicated by the Treble Clef. 1&2&3a 12. FIRST FLIGHT | 3. ESSENTIAL ELEMENTS QUIZ Fitt in the remaining note names before playins. t . , ffi' CDE

Double Bqr - 8. FOUR BY FOUR Count&Tap: 1 a 2 9. TOUCHDOWN €F+ Double Horn Players: add the thumb key and use the W Horn fingering. FIVE Repeor sis n : U:H:*"1^H:,;iffi:" Double Bor 1 Repeat Sign 7 1&2*3a4&1&2&3a4 Note Nqmes Each note is on a line or space of the staff. These note names are indicated by the Treble Clef. indicates the end of a piece of music. 7. THE IONG HAUI G -=- FHorn: O OO rffi: FHorn: OOO @,- > ' ,,,,F,:u$ FHorn: OOO ffi FHorn: OOO BbHorn:fOOO I O. THE FAB Treble Clef (G Clef) indicates the position of note names on a music staff: Second line is G. Shofp # Flof D Nqturql h I I. READING 1a2&3a4&l&2&3a4& \ / Time Signofure indicates how many beats per measure and what kind of note gets one beat. = 4 beats per measure = Quarter note gets one beat raises the note and remains in effect for the entire measure. lowers the note and remains in effect for the entire measure. cancels a flat ([ or sharp (fi) and remains in effect for the entire measure. THE NOTES Compare this to exercise tL,THE FAB F)VE. t Flat applies to all B's in measure. 1&2&3a 12. FIRST FLIGHT I3. ESSENTIAL ELEMENTS QUIZ A n) ffi' G Fillin the remaining note names before playing.

Notes ln Review ----r--I --Jooo = + ooo F + G-*--|_ ---+-- ---- FHorn: OOC ooo Memorize the fingerings for the"notes you've learned: I4. ROLTING ATONG Go to the next line. Double Bor Hqlf Note I I = 2 Beats 1a 2 & Holf Rest I & 2 & = 2 Silent Beats =t-tt t I | 5. RHYTHM RAP Clap the rhythm white counting ond tapping. Clop Repeat Sign 't 1&2&3&4& 1&2&3&4& l&2&3&4 & 1&2&3&4& l&2&3&4& l&2&3&4& 16. THE HAIF COUNTS 17. HOT CROSS BUNS Try this song on your mouthpiece only. Then ptay it on your instrument. Breoth Mork ) Take a deep breath through your mouth after you play a full-length note. I8. GO TEIL AUNT RHODIE American Folk Song ) I9. ESSENTIAI ELEMENTS GIUIZ Using the note names and rhythms below, draw your notes on the staff before playing. t ))) FEF ))))) FEDCD )))) FGFE ft'

FHorn: O O O BbHorn:TOOO ---T--I c:+---rI FHorn: OOO ooo T OOC I Bb+4- ?1J ooo ooo r ooo I A-d---f 7 ooo FHorn: O O O ooo Nofes In Review Memorize the fingerings for the notes you've learned: (Double Horn Playershould use the Bb Horn fingerings where indicated.) I4. ROIIING ALONG I .' F -----r- lt-{i- --T Jooo ooc BbHorn: T OOO Go to the next line. { 15. RHYTHM RAP Clap Holf Rest 1& 2 & Clap the rhythm while counting and topping. Holf Note I I O1=2Beats 1a 2 & = 2 Silent Beats I Repeot Sign ':i 1a2 a3a4a 1a2&3&4& 1&2a3a4a 16. THE HAIF COUNTS 1&2&3&4& 1a2a3a4a 1a2a3a4a 1a2 a3a4& 1 & I7. HOT CROSS BUNS 2a3 a4a 7a2 p3a4a 1a2a3a4a l&2&3 Try this song on your mouthpiece only. Then play it on your instrument. & 4 & & Breoth M<rrk I8. GO TELI AUNT RHODIE ) Take a deep breath through your mouth after you play a full-length note. American Folk Song | 9. ESSENTIAI ETEMENTS QUIZ using tne note names ond rhythms below, drow your notes on the staff before ptaying. )))..)))) BbCBbABbAGFG ,ffi'

Whole Note r)# = -;ear; 1&2a3a4a Whole Resf I 1&2&3&4& A Whole Measure of Silent Beats Whole Rest Half Rest ------------- I hangs from sits on a a staff line. staff line. 20. RHYTHM RAP Ctap the rhythm white counting and tapping. Clap 1a2 a3a4a 1s2 a3a4a 2I. THE WHOTE THING 1 & 2 a 3 & 4 & l & 2a3a4a 1&2 &3&4& 1&2 &3&4& 1a2a3a4a 1a2 a3a4 DUet A composition with two different parts, played together. 22. SPIIT DECISION - Duef 3a4a 1a2 a3a4a 1&2&3&4& 1 Key Signoture MARCH STEPS The Key Signature tells us which notes to play with sharpr (#) or flats (b) throughout the music. Your Key Signature indicates the Key of C (no sharps or flats). 24. IISTEN TO OUR sEciloNs Percussion Woodwinds Brass 25. TIGHTLY ROW 26. ESSENTIAI EIEMENTS GIUIZ w Draw in the bor lines before you play.

Whole Note O#=4Beats 1a2&3&4& Whole Rest 1a2&3&4& A Whole Measure of Silent Beats Whole Rest Half Rest ----r_- I hangs from sits on a a staff line. staff line. 20. RHYTHM RAP Ctap the rhythm while counting and tapping. Clap 1&2 &3&4& 1&2a3a4a 1a2a3a4a 2I. THE WHOTE THING 1a2a3a4a 1s2 a3a4a 1s2 a3a4a 1a2a uet SPTIT DE 3a4a 1a2 a3a4a 1a2 &3&4& 1a2 a3a4a 1a2a3a4a A composition with two different parts, played together. ClSlON - Duef 1a2a3a4c D 22. :I Key Signoture The Key Signature tells us which notes to play with sharpr (#) or flats (b) tnrougfrout the music. Your Key Signature indicates the Key of F (one flat). When you see this key signature, play all Bt as B-flats (Bb). MARCH STEPS :1 PlayBb's 24. IISTEN TO OUR SECTIONS Percussion Woodwinds Brass Percussion Woodwinds All V 25. TIGHTLY ROW 26. ffi ESSENTIAT ELEMENTS GIUIZ Draw in the bar lines before you play.

Fermqtq 27. REACHING A Hold the note (or rest) longer than normal. HIGHER - New Note Practice long tones on each new note. Fermata French Folk Song I A F Horn: Bb Horn: 'ooo rooo I A Double Horn Players: add the thumb key and use theBb Horn fingering. 28. AU CLAIREDE tA IUNE 29. REMIX 30. :I Hormony Two or more notes played together. Each combination forms a chord. TONDON BRIDGE - Duet English Folk Song , Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who..started playing professionally at age six, and lived during the time of the American Revolution. Mozart's music is melodic and imaginative. He wrote more than 600 compositions during his short life, including a piano piece based on the famous song,"Twinkle,Twinkle, Little Star." 3I. A MOZART METODY Adaptation 32. ESSENTIAI ELEMENTS QUIZ Draw these symbols where they belong ond write in the note names before you play: ft 'll -

Fermqtcl A Hold the note (or rest) longer than normal. 27. REACHING HIGHER - New Nofe Practice long tones on each new note. FHorn: OOO OOO BbHorn: TOOO 28. AU CTAIRE DE tA I D Double Horn Players: add the thumb key and use theBb Horn fingering for the upper D. LUNE French Folk Song Fermata '7 29. REMIX Hormony Two or more notes played together. Each combination forms a chord. LONDON BRIDGE 30. - Duet English Folk Song :I Austrian composer Wolfgang Amadeus Moza* (1756-1791) was a child prodigy who started playing professionally at age six, and lived during the time of the American Revolution. Mozart's music is melodic and imagiRative;lHe wrote more than 600 compositions during his short life, including a piano piece based on the famous song,"Twinkl4Twinkle, Little stai." 3I. A MOZART MEIODY .:'.-..tffill ,r+iEt . r:1:{-- jl "tl!\?'.1 r,-{c),* ,i:5,1 ',tr#i Adaptation 32. ESSENTIAL ELEMENTS GIUIZ Draw these symbols where they belong ond write in the note names before you ploy: fr ,n 'll

DEEP POCKETS - New Note 34. DOODLE AtL DAY 35. JUMP ROPE Pick-Up Notes 36. A-TISKET, A-TASKET 1 Pick-up note One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are subtracted from the last measure. 4 Dynomics 37. IOUD AND SOFT Clap f - forte (play loudly) ,If - mezzo forte (play moderately loud) p - piano (play softly) Remember to use full breath support to control your tone at all dynamic levels. 38. JINGLE BELLS Also practice new musiconyour mouthpiece only. J. S. Pierpont 39. MY DREYDL IJse full breath support at alt dynamic levels. Traditional Hanukkah Song

33. ,Ei DEEP POCKETS - New Note FHorn: OOO DOODLE ALL DAY 35. JUMP ROPE Pick-Up Notes 36. A-TISKET, A.TASKET One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are subtracted from the last measure. E Pick-up note 4 & 1a2 a 3 a 4 a Dynomics f - forte (play loudly) ,f - mezzo forte (play moderately loud) p - piano (play softly) Remember to use full breath support to control your tone at all dynamic levels. 3 37. LOUD AND SOFT 38. JINGLE BELIS Also practice new music on your mouthpiece only. J. S. Pierpont , ) 39. MY DREYDL lJse futl breath support at all dynomic levels. ) Traditional Hanukkah Song

Eighth Nofes -1 Each Eighth Note =1/z Beat .) a 2EighthNotes= lBeat 1 a Play on down and up taps. J-, J-; l & J...* n 2 & Two or more Eighth Jrlotes have a beom across the stems. 1 Beam n J-: =,f-J-ll 40. RHYTHM RAP Ctap the rhythm white counting and tapping. 1&2&3&4&1 4I. EIGHTH NOTE JAM &2& &4& - 1&2*3a4& 42. SKIP TO MY tOU 2a3a4& American Folk Song 43. [ONG' IONG AGO Good posture improves your sound. Always sit straight and tall. p 44. OH, SUSANNA Stephen Collins Foster I f ftalian composer Gioacchino Rossini (1792-1868) began composing as a teenager"and was very proficient on the piano, viola and horn. He wrote"William Tell"at age 37 as the last of his forty operas, and its familiar theme is stitl heard today on radio and television. 45. ESSENTIAL EIEMENTS QUIZ - WILLIAM TELL Gioacchino Rossin,

Eishth |-t tl aa 1 & 40. RHYTHM RAP Ctap the rhythm white counting ond tapping. Clap Notes Each Eighth Note =1lzBeat 2 Eighth Notes = 1 Beat PIay on down and up taps. J-' J.* JI J': 1& 2 & Two or more Eighth Notes have a beam across the stems. 1 Beam nil=w 1&2a344&1 4I. EIGHTH NOTE JAM 1a2 42. SKIP TO &344 MY tOU American Folk Song 43. LONG, IONG AGO Good posture improves your sound. Always sit straight and tatt. p 44. OH, SUSANNA Stephen Collins Foster V - f - V f tafian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very,proficient on the piano, viof a and horn: He wrote "William Tell"at age 37 asthe last of his forty operas, and its familiar theme is still heard today on radio and television. 45. ESSENTIAT ELEMENTS GIUIZ - WILTIAM TELT ffi *f Gioacchino Rossini

t,,"t,' r-, 2 54lll .;:' E:t",t' F,tntn, Time Sig 46. RHYTHM RAP 2 beats per measure Quarter note gets one beat Conducting Practice conducting this two-beat pattern. noture # {b ?"'lll:ll 1&2&1&2& 47. TWO BY TWO Tempo Morkings 48. HIGH SCHOOL CADETS - Morch Tempo is the speed of music. Tempo markings are usually written above the staff, in ltalian. Allegro - Fastempo Moderato - Medium tempo Andante - Slower walking tempo John Philip Sousa Allegro f 49. HEY, HO! NOBODY'S HOME - New Note A.: A k...-.......... .e)+ FHorn: OOO Reproduced by Permission of Boosey & Hawkes Music Publishers Ltd Dynomics 50. CIAP THE DYNAMICS Crescendo (gradually louder) - Decrescendo or Dimin uendo (gradually softer) Clapi"rTTlJ-lJ lJ J-lJ J lJ J-lJ-lJ tJ J J r 'll P f p 5I . PIAY THE DYNAMICS

? Time Signoture 4 A # - a::il:"fl,T;:il5^e bea, Conducting I ll I ,stl',i, ltN two-beat pattern. \)Z 46. RHYTHM RAP Clap Tempo Mqrkings 48. HIGH SCHOOL CADETS - Mqrch Tempois the speed of music. Tempo markings are usually written above the staff, in ltalian. Allegro - Fastempo Moderato - Medium tempo Andante - Slower walking tempo John Philip Sousa Allegro 49. HEY HO! NOBODY',S HOME Reproduced by Permission of Boosey & Hawkes Music Publishers Ltd. Moderato Dynomics 50. CLAP THE DYNAMICS : Crescendo (g radually louder) Decrescendor Diminuendo (gradually softer) Clap p 51. PLAY THE DYNAMICS

HORN RANOE BUTTDERS Flot 52C. SWEET AND tOW - New Nofe Horn: O O O 53C. MAJESTIC MARCH Andante A flat sign lowers the pitch of a note by a half-step. The note B-flat sounds a half-step below B, and all B s become B-flats for the rest of the measure where they occur. 54C. HIGH FTYER - New Note New Key Signoture ?Bb Y Double Horn Players: odd the thumb key and use the Bb Horn ftngering. Flat applies to all B's in measure. Your Key Signature indicates the Key of F - play all B's as B-flats. Queen Liliuokalani, Hawaii ,{ Bb , S-1- ryf 56C. AMERICAN FOIK SONG Andante William Billings A f ( ltz mf

HORN RANGE BUITDERS - New Note Double Horn Players: add the thumb key and use the Bb Horn fingering. Jamaican Folk Song 1 C 58D. MARIANNE Allegro ,F\ V a) ryf p v - f ryf 59D. BItt GROGAN'S GOAT Moderato American Folk Song ,tt v ,f l\ll a t f a HI-DEE-HO - New Note THE GREAT Allegro GATE OF KIEV 6lD - Duet :I Modeste Moussorgsky Double Horn Players: add the thumb key and use the & Horn fingering. of A f

12. PERFORMANGE SPOTUGHT 52. PERFORMANCE WARM.UPS TONE BUILDER RHYTHM ETUDE Stomp! CHORALE Andante ryf -< 53. AURA tEE - Duef or Bqnd Arrqngemenf (Part A = Melody, Part B = Hormony) George R. Poulton oryf - I p -- a ,!f A 'rll I f ryf ----. p A f :-mf 54. FRERE JACQUES - Round (When group A reaches@,group B begins at@) A p A ryf A B A B ryf p Moderato e French Folk Song ttl @ mf

13 PERFORTNANCE SPOilTOHT 55. WHEN THE SAINTS GO MARCHING lN - Bond Arrongement Allegro E ''< Measure number Arr. by John Higgins ,tf E 56. OtD MACDONALD HAD A BAND - Section Feqture Allegro "f 2nd time go on to meas. | 3 .--f E tf 57. ODE TO JOY (from Symphony No. 9) Ludwig van Beethoven Moderato Arr. by John Higgins .---.---------------.--------.---P 58. HARD ROCK BLUES - Encore f Allegro John Higgins

1 4 Tie A curved line connecting notes of the same pitch. Ptay one note for the combined counts of the tied notes. = 2 Beats 59. FIT TO BE TIED _ v 2beats d 60. ATOUETTE French-Canadian Folk Song Doffed Holf Note I I /.fi.=3Beats 1a 2 & 3 & I I I d. < Dot A dot adds half the value of the note. J J = ). 2beats+lbeat = 3beats 6I. ALOUETTE - THE SEQUET American .omposer Stephen Collins Foster t1826-1864) was born near Pittsburgh, PA. He has become the most recognized song writer of his time for works such ds "gh Susanna,"which became popular during the California Gcild Rush of 1849. Among his most welFknown songs are"My Old Kentucky Home"and "Camptown Races." 62. CAMPTOWN RACES Allegro Stephen Collins Foster French-Canadian Folk Song rnf 63. NEW DIRECTIONS 64. TFIE NOBLES Alwaysuseafullairstream. Keepfingersontopof thevalves,archednaturally. 65. ESSENTIAT ELEMENTSGIUIZ

1 5 r.i':- : i i"lili.l+ 3 4 Time Signofure -0----- ffi= a RHYTHM RAP Conducfing il\, Practice conducting this t | \ three-beat.pattern. 't-\Z z + 3 beats per measure Quarter note gets one beat 66. Clop 1a2 a3a 1&2 a3a 67. THREE BEAT JAM & & & & & &2& 3 a 1a2 a3a 1a2 68. BARCAROLTE Moderato & & & & & & & & & & 2r3a 1a2a3a Jacques Offenbach ----- Norwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suitefor a play by Henrik lbsen in 1875, the year before the telephone was invented by Alexander Graham Bell. "Morning"is a melody from Peer Gynt Suite. Music 69. MORNING (from Peer Gynt) Andante Edvard Grieg ----_---. t Accenf 70. ACCENT Clap Emphasize the note. TALENT I a YOUR Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diverse music features lively accompaniments by drums and other percussion instrumentsuch as maracas and claves. Music from Latin America continues to influenc e jazz,classical and popular styles of music. "Chiapanecas"is a popular children's dance and game soqg. 71. MEXICAN CIAPPING SONG ("Chiopqnecqs") Latin American Folk 72. ESSENTIAI CREATIVITY Compose your own music for measures 3 and 4 us\ng this rhythm: ) ) fTT)l)

1 6 tit,,,. :E;rr. ,. ,ffi!F.*:,, ,EE:] 'li' ' :..ji::: : . i : . r-r'i:. .'r : Accidentcrl Any sharp, flat or natural sign which appears in the music without being in the key signature is called an accidentat. Flof b A flat sign lowers the pitch of a note by a half-step. The note E-flat sounds a half-step below E, and all E,s become E-flats for the rest of the measure where they occur. 73. HOT MUFFINS - New Note ooo 74. COSSACK DANCE Allegro 7 Flat applies to all Es in measure. f 75. BASTC BIUES New Note lEb Flat applies to all E's in measure. .1 ooo rooo New Key Signofure This Key Signature indicates the Key of Bb - play all B's as B-flats and all E's as E-flats. HIGH FLYING I sf & 2nd Endings Play through the l st Ending. Then play the repeated section of music, skipping the 1st Ending and playing the 2nd Ending. (Opfionol) Double Horn Players: add the thumb key and use the Bb Horn fingering. l'---lEr--l Moderato ,)F 4 ',€l'. ilr-a, '.9t. .l-r: ,;!E,., 77. r l -----..-- 2nd time Japanese folk music actualty has its 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 sound of this ancient Japanese melody results from the pentatonic (or five-note) sequence used in this tonal system. SAKURA, SAKURA - Bond Arrongement Andante Japanese Folk Song Arr. by John Higgins ----- -

1 7 78. UP ON A HOUSETOP Allegro 7i* 't Key Signature MT f 79. :I JOLLY OtD Moderato ST. NICK - Duet See page 9 for additional holiday music, MY DREYDL and JINGLE BELLS. 80. THE BIG AIRSTREAM - New Note (Optionol) F' FHorn: O O O BbHorn: TOOO 8I. WATTZ THEME Double Horn Players: add the thumb key and use the Bb Horn fingering. (THE MERRY WIDOW WAtrZ) mm ,f Moderato Franz Lehar \---// -_ \'---/ @ Glocken Verlag Ltd., London Reproduced by Permission 82. AIR TIME 83. DOWN BY THE STATION Allegro 84. ESSENTIAL ELEMENTS GIUIZ Moderato -f .W, 85. # ESSENTIAL CREATIVITY IJsing these notes, improvise your own rhythms:

1B ,WDATLY wAR.fn-nPs 88. 89. CHORATE Adopted from cantato 147) -- Theme qnd Voriotions 90. VARIATIONS ON A FAMITIAR THEME WORK-OUTS FOR TON E & TECH N IQU E A musical form featuring a theme, or primary melody, followed by variations, or altered versions of the theme. Johann Sebastian Bach 86. TONE BUIIDER use o steady stream of air. 87. RHYTHM BUITDER TECHNIQUE TRAX --*---llTheme Variation 1 Variation 2 D.C. ol Fine 9I. BANANA BOAT SONG At the D.C. al Fine play again from the beginning, stopping at Fine (fee'- nay). D.c. is the abbreviation for Da capo, or"to the blginning,"and Fine means "the end." Moderato Caribbean Folk Song

Nqtf.lfql h A natural sign cancels a flat (b or sharp (fi) and remains in effect for the rest of the measure. 1 9 i ,-: ...,. |il., ..+llD.j ,*#r FHorn: OOO OOO BbHorn: TO O O 93. THE MUSIC BOX Moderato ,A Bh Double Horn Players: add the thumb key and use theBb Horn fingering for the upper B-natural. RAZOR's EDGE- New Note AB! African-American spirituals originated in the 1700's, midway through the period of slavery in the United States. One of the largest categories of true American folk music, these primarily religious songs were sung and passed on for generations without being written down. The first collection of spirituals was published in 1867,four years after The Emancipation Proclamation was signed into law. 94. EZEKIEI SAW THE WHEEL Africa arrirsn-American Spi ritual Allegro f Slur . . A curved line which connects notes of different pitch. Tongue only the first note in a slur. 95. SMOOTH OPERATOR A Slur 2 notes - tongue only the first. 96. GTIDING ATONG A, Slur 4 notes - tongue only the first. Ragtime is an American music style that was popular from'the :18903 until,the time of World War l. This early form of jazzbrought fame to pianists like "Jelly Roll" Morton and Scott Joplin, who wrote "The Entertainer" and "Maple Leaf Rag." Surprisinfly,the style was incorporated into some orchestral music by lgor Stravinsky and Claude Debussy. The trombones now learn to play a glissando,a technique used in ragtime and other styles of music. 97. TROMBONE RAG Allegro ffi Andante L ' f 98. ESSENTIAT ELEMENTS QUIZ

20 99. TAKE THE IEAD - Neur Note (Optionol) tE\ E'.F FHorn: OOO BbHorn: TOOO i>' e4 8 Phrqse ;,E,'. .,F,' I OO. THE COLD Double Horn Players: add the thumb key and use the Bb Horn fingering. See page 98 if you wish to review the fingering for low E-natural. A musical "sentence" which is often 2 or 4 measures long. Try to play a phrase in one breath. WIND I OI. PHRASEOTOGYWrite in the breath mark(s) between the phrases. .fNew Key Signotu This Key Signature indicates the Key of C - (no sharps or flats). Multiple Meqsure Rest The number above the stafftells you how many full measures to rest. Count each measure of rest in sequence: 2 l-z-z-q 2-z-z-q reF IO2. SATIN TATIN Allegro ryf ; 4 ,O.., ,|.r., ,'{91::r: ' '-t t .',$,. I 03. Arff ,Lk German composer Johann Sebastian Bach (1685-1 750) was part of a large family of famous musicians and became the most recognized composer of the Baroque era. Beginning as a choir member, Bach soon became 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 of the piano. + --\--lJohann Sebastian Bach \---l This melody can be played in 3/4 or 4/4. Pencil in either time signature, drow the bar lines and play. Now erase the bar lines and try the other time signature. Do the phrases sound different? MINUET - Duet Moderato mf I 04. ESSENTIAL CREATIVITY -;tt 14- .>G i

I 05. NATURALTY Austrian composer Franz Peter Schubert (1797-1828) lived a shorter life than any other great composer, but he created an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment),en symphonies, chamber music, operas, choral works and piano pieces. His "March Militaire"was originally a piano duet. I 06. MARCH MILITAIRE Franz Schubert Allegro lO7. THE FIAT ZONE - New Note ffi F Horn: Bb Horn: I 08. oN TOP OF OtD SMOKEY ooo rooo Double Horn Players: add the thumb key and use theBb Horn fingering. Allegro American Folk Song Boogie-woogie is a style of the blues, and it was first recorded by pianist Clarence "Pine Top" Smith in 1 928, one year after Charles Lindbergh'solo flight across the Atlantic. A form of jau.,blues music features altered notes and is usually written in l2-measure verses, like "Bottom Bass Boogie." BOTTOM BASS BOOGIE - Duet Allegro A B I lt , aJl A l t[_-, I l ,

22 Dofted Gluqrter & Eighth Notes I I O. RHYTHM RAP Clap I|\ a. -+. d, = 2 Beats 1&2& J.*J A dot adds half I trr tfev3lul:j-thu )-) ) quarter note. 1&2& \- A single eighth a ) note has a flag on the stem. 1a2&3&4&1&2& I I I. THE DOT AIWAYS COUNTS 1&2&3a4&1e2 II2. Att THROUGH THE NIGHT 3 &'4 & | | 3. SEA CHANW Always use a full airstream. Moderato ,!f I 14. SCARBOROUGH FAIR English Folk Song t - I 15. RHYTHM RAP Clop 1&2&3&4&1 I 16. THE TURNAROUND Andante A Check anytn^< f 1a 2 & 3 & 4 & la 2 & 3 & 4 & I & 2 ESSENTIAI ETEMENTS QUIZ - AULD LANG SYNE &3&4& Scottish Folk Song | 17. W

23 PERFORTNANCE SPOTTIOHT Solo with Piono Accomponiment I I8. THEME FROM "NEW WORTD SYMPHONY" You can perform this solo with or without a piano accompanist. Play it for the band, the school or your family. lt is part of Symphony No.9 ("From The New World") by Czech composer Antonin Dvor5k (1841-1904). He wrote it while visiting America in 1893, and was inspired to include melodies from American folksongs and spirituals. This is the Largo (or"very slow tempo") theme. E -. Measure number Antonin Dvordk E t ( \: Piano Accompaniment Ef] slo*".

24 SPECIAI HORN EXERCISE - Lip Slurs Lip Slurs are notes that are slurred without changing valves. Brass players practice these to develop a stronger airstream and embouchure, and to increase range. Add this pattern to your daily Warm-Ups: FHorn:OOO OOO Great musicians give encourogement to fellow performers.On this pag€,clarinetists leorn their instruments'upper register in the"Grenadilla Gorilta Jumps" (named after the grenaditta wood used to make clorinets). Brass players learn lip slurs, a new worm-up pattern. The success of your band depends on everyone's effort and encourgr^rnt. | | 9. GRENADITLA GORIILA JUMP No. I I20. JUMPIN' UP AND DOWN \_J l2l. GRENADIILA GORILIA JUMP No. 2 \-o I22. JUMPIN' FOR JOY - \J 123. GRENADIIIA GORIILA JUMP No. 3 \J I I t I24. JUMPIN'JACKs I l , a) \i v The distance between two pitches is an interval. Starting with "1" on the lower note, count each line and space between the notes. The number of the higher note is the distance of the interval. 2nd-1 3rd-r 4th-1 5th-r 6th-r 7th 1 Octave lntervol {} {> ESSENTIAL ELEMENTS QUIZ Write in the numbers of the intervals, counting up from the lower notes.

'25 126. GRENADILIA GORlttA JUMP No. 4 127. THREE IS THE COUNT 128. GRENADIIIA GORILIA JUMP No. 5 t/ 129. TECHNIQUE TRAK | 30. cRosstNc ovER Trio l3l. KUM BAH YAH - Trio Alwayscheckthekeysignature. Moderato A trio is a composition with three parts played together. Practice this trio with two other players and listen for the 3-part harmony. African Folk Song A ---

26 Repeot Signs I32. MICHAEL ROW THE BOAT ASHORE Repeathe section of music enclosed by the repeat signs. (lf lst and 2nd endings are used,they are played as usual- but go back only to the first repeat sign, not to the beginning.) Africa n-America n Spi ritual Andante I33. AUSTRIAN WALTZ - Austrian Folk Song I34. BOTANY BAY Australian Folk Song Allegro ryf ix*.,' Lr5r49.?,:. :F='.';' qE i3i,t, ':'lg:'r.': E, t.f-; - in;: '. :::. | 35. Signofure = Common Time (same utftl TECHNIQUE TRAK Practice atotldynamic levels. Time # e Conducting Practice conducting this four-beat pattern. I36. FINLANDIA Andante Jean Sibelius -_ - 137. ESSENTIAT CREATIVITY Create your own voriations by penciling in a dot and a ftag to change the rhythm of any measure from lJ I tt a t V _ O Ereitkopf & Hae(tel,Wiesbaden - Leipzig lt | \ l ) | fo l.l. ))l

27 I38. EASY GORIIIA JUMPS s-ffi - | 39. TECHNIGIUE TRAK Always check the key sisnature. I t I40. MORE TECHNIQUE TRA]X I4I. GERMAN FOLK SONG Moderato lr. llz ,f I42. THESAINTS GO MARCHIN' AGAIN James Black and Katherine Purvis Allegro G=--t lfr-----_-l |'' I I43. IOWIAND GORIIIA WALK 144. SMOOTHSAITING I45. MORE GORIIIA JUMPS 146. FULI COVERAGE

28 -', e .Cl.., ilji::.j E::..., ;|i;1r Scole A scale is a sequence of notes in ascending or descending order. Like a musical "ladder," each step is the next consecutive note in the key. This scale is in your Key of F (one flat), so the top and bottom notes are both F's. The interval between the F's is an octave. 147. CONCERT Bb SCALE (Horn - F SCALE) Octave 4 Octave Scale Steps: When two or more notes are played together, they form a chord or harmony. This F chord is built from the 1st, 3rd and 5th steps of the F scale. The 8th step is the same as the 1st, but it is an octave higher. An arpeggio is a "broken" chord whose notes are played individually. Chord & Arpeggio 148. fN HARMONY Divide the notes of the chords betvveen band members ond play together. Does the oryeggio sound like a chord? Arpeggio Arpeggio 149. SCATE AND ARPEGGIO Scale Austrian composer Franz Josef Haydn (1732-1809) wrote 104 symphonies. Many of these works had nicknames and included brilliant, unique effects for their time. His Symphony No.94 was named "The Surprise Symphony" because the soft second movement included a sudden loud dynamic, intended to wake up an often sleepy audience. Pay special attention to dynamics when you play this famous theme. I50. THE'VIE FROM "SURPRISE SYMPHONY" Andante FranzJosef Haydn --,!f I 5I . ESSENTIAT EIEMENTS QUIZ - THE STREETS OF LAREDO Write in the note names before you play. American Folk Song

29 PER.FORMANCE SPOTLIOHT l'52. SCHOOT SPIRIT - Bond Arrcrngement MarchStyle l5 | { MeasureNumber W.T. Purdy Arr. by John Higgins f E i:-' @ Soli --_.> When playing music marked Soli, you are part of a groupl{solo"or group feature. Listen carefully in "Carnival of Venice,"and name the instruments that play the Soli part at each indicated measure number. | 53. CARNIVAI OF VENICE - Bond Arrongemenl Julius Benedict Arr. by John Higgins Allegro E 8 ,!f E! f r a ,

30 nDArtY wARrur-uPs I54. RANGE AND FTEXIBITITY BUILDER | 56. CHORATE WORK.OUTS FOR TONE &TECHNIQUE Johann Sebastian Bach > E . c), F t'vl' I tr- | 57. The traditional Hebrew melody"Hatikvah"as been lsrael's national anthem since the nation's inception. At the Declaration of State in 1948,it was sung by the gathered assembly during the opening ceremony and played by members of the Palestine Symphony Orchestrat its conclusion. I55. TECHNIGIUE TRAX lsraeli National Anthem

3 1 Eighth Note & Eighth Rest |\ J t = :l /2 beat of sound 7 = .112 beat of silence rTn ,bt )t 1&2& J-J-J': 7 )r ,|l 1&2& I58. RHYTHM RAP 1&2&1&2&1a2& I59. EIGHTH NOTE MARCH 1a 2 & 1a 2 & t a 2 * I a 2 & la 2 & I & 2 & 1& 2 & 1&2 & I &2 & 7 & 2 & 1& 2 & I & 2 & I & 2 & I60. MINUET Johann Sebastian Bach 16I. RHYTHM RAP 2&3s4&la2&3a4& l&2&3a4& 1&2&3a4& 162. EIGHTH NOTES OFF THE BEAT t 1&2&3&4& 1&z& 3&4& l&z& 3&4& la2& 3&4& 163. EIGHTH NOTE SCRAMBTE t I t I 164. ESSENTIAI ELEMENTS GIUIZ p n# ,f f al

32 l 65. DANCING MELODY - New Note FHorn: OOO OOO BbHorn: TOOO E. t€).', rtl-;:r ''9)t't"' :f ir' '-. lr Double Horn Players: add the thumb key and use the Bb Horn fingering for the upper Db. American composer and conductor John Philip Sousa (1854-1932) wrote 136 marches. Known as "The March King," Sousa wrote The Stars And Stripes Forever, Semper Fidelis,The Washington Post and many other patriotic works. Sousa's band performed all over the country, and his fame helped boost the popularity of bands in America. Here is a melody from his famous ElCapitan operetta and march. 166. EL CAPITAN John Philip Sousa [email protected]!.@l 'O Canada,"formerly known as the "National song,"was first performed during 1880 in French Canada. Roben stanleyWeir tanslated the English language version in 1908, but it was not adopted as the national anthem of Canada until 1980, one hundred years after its premiere. O CANADA Maestoso (Majestically) Calixa Lavallee, l'Hon.Judge Routhier and Justice R.S.Weir - ryf | 68. -;2r gffi ::f.n ESSENT|AI ETEMENTS QUIZ - METER MANIA Count and ctap before ptayins. Can you conduct this? I I t al

CIandDb V Gtand Ab Enhqrmonics V Two notes that are written differently, but sound the same (and played with the same fingering) are called enharmonics. Your fingering chart on pages 46-47 shows the fingerings for the enharmonic notes on your instrument. On a piono keyboard,each black key is both a flat and o sharp: ADb Double Horn Players: odd the thumb key and use the& Horn fingering for the upperu/cl. CHARMER FHorn: OOO BbHorn: TOOO ooo tcf, C D E F GIA B c Enharmonic notes use the same fingering. I7O. DARK SHADOWS I7I. CLOSE ENCOUNTERS Abldfffr FHorn: O O O BbHorn:TOOO 172. MARCH S1AV Enharmonic notes use the same fingering. Double Horn Players: add the thumb key and use the & Horn fingering for the upper N/Gt. Peter lllyich Tchaikovsky Largo v f f 173. NOTES lN DISGU|SE Chromqtic Notes Chromatic notes are altered With sharps,flats and natural signs which are not in the key signature. The smallest distance between two notes is a ialf-st"p, "nd a scale made up of consecutive half-steps is called a chromatic scale. HATF.STEPPIN'

French composer Camille Saint-Sa6ns (1835-1921) wrote music for virtually every medium: operas, suites, symphonies and chamber work. The "Egyptian Dance" is one of the main themes from his famous opera Samson et Detilah. The opera was written in the same year that Thomas Edison invented the phonograph-1877 - 175. EGYPTIAN DANCE watchforenharmonics. Camille Saint-SaEns Allegro ryf I l,-^- t. 176. SIwER MOON BOAT Largo D.C. al Fine - - ::rl German composer Ludwig van Beethoven (1770-1827) is considered to be one of the world's greatest composers' despite becoming completety deaf in 1802. Although he could not hear his music the way we can, he could "hear" it in his mind. As a testament to his greatness, his Symphony No.9 (p.13) was performed as the finale to the ceremony celebrating the reunification of Germany in 1990. This is the theme from his Symphony No.7, second movement. 177. THEME FROM SYMPHONY NO. 7 - Duet Ludwig van Beethoven Allegro (moderately fast) 1-> Ir. lF A "f tr A B A B A B d A 'If T. t v aJ A 4+J 4 4 , l e u 1 - 4\. -. drl -1 A

3 5 Russian composer Peter lllyich Tchaikovsky (1840-1S93) wrote six symphonies and hundreds of other works including The Nutcrqcker ballet. He was a master at writing brilliant settings of folk music, and his original melodies are among the most popular of all time . His 1812 Overture and Capriccio ltalien were both written in t ggO, the year after Thomas Edison developed the practical electric light bulb. . 178. CAPRICCIO lTAtlEN Atways check the key sisnature. Peter I llyich Tcha ikovsky Allegro It.. I79. AMERICAN PATROL F.W. Meacham Allegro I 80. WAYFARING STRANGER Andante Africa n-America n Spi ritual T 8I. ESSENTIAL ELEMENTS QUIZ - SCAIE COUNTING CONGIUEST

36 PERFORTNANCE SPOTHOHT 182. AMERICA THE BEAUTIFUI - BcrndArrongement c Maestoso Samuel A.Ward Arr. by John Higgins ----..--- f 183. LA CUCARACHA - Bond Arrongemenl Latin American Folk Song Arr. by John Higgins Latin Rock I l, I L - p a t

3 7 PERFORMANCE SPOTTIGHT | 84. THEME FROM | 8I2 OVERTURE - Bqnd Arrongemenr Peter I llyich Tchaikovsky Arr. by John Higgins ryf

38 Performing for an audience is an exciting part of being involved in music. This solo is based on Symphony No- |by German composer Johannes Brahhs (1g33-1g97). He completed his first symphony in 1876,the same year that the telephone was invented b! Rlexander Graham Bell. you and a piano accompanist can perform this for the band or at other schoot and community events. | 85. THEME FROM SYMPHONY NO. | - Solo (ConcertBbversion) PERFORMANCE SPOTLIOHT Solo wifh Piono Accomponiment Johannes Brahms Arr. by John Higgins

39 DUETS Here is an opportunity to get together with a friend and enjoy playing music. The other player does not have to play the same instrument as you. Try to exactly match each other's rhythm, pitch and tone quality. Eventually, it may begin to sound like the two parts are being played by one person! Later, try switching parts. . SWING tOW SWEET CHARIOT - Duet Andante African-American Spiritual D.C. al Fine . LA BAMBA - Duet =-- Mexican Folk Song mf t86 :I r87 :I A B A B ,!f a) A l\r iiii *f f'T-r- r aJ A (*-,+ ; -- A B D.C. al Fine a e +e + = A t A O O e t' J I p - -