ESSENTIAl EL Ts GOII'IPITEHENSI\/E BAND INETHOD rIflI LA'I0TZENHEISER JOHN HTOGINS CHAITLES N'TENOHINT PAUL LAVENDER TON'T G. RHODES DON BIER.SGHENK PLl'S 'DV'ED Vl-far ol F(^)N A trI r)@
TROI,IBONE BOOK I JOHN HIGGTNS TOI'I G. R.HODES GHARTES I,IENGHINI DON BIERSCHENK Band is... Making music with a family of lifelong friends. llnderstanding 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...MUSIG! Strike up the band, Tim Lautzenheiser frotOones were known to exist in the 15th century. Unlike other instruments, the shape of today's instrument remains close to the original. In the 16th century, trombones were a common town and court band instrument. There are several kinds of trombones, and the tenor is the most common. Valve trombones were developed in the 1800s. ln 1839, the bass trombone was invented. An extension allows this instrumento play lower notes. The trombone's slide gives the instrument unique playing features. An extremely important member of the concert band as well as a popular jazz instrument, trombones play solos, melodies and harmonies. G. Gabrieli, Beethoven, Mahler and Stravinsky are important composers who have included trombones in their writing. Some famous trombone performers are Glenn Miller, Urbie Green, Bill Watrous and Kai Winding. tsBN 0-634-00322-4 copyright @ 2004 by HAL LEONARD CORPORATTON International Copyright Secured All Rights Reserved !r I a-l o v orf, { - lrl { F o = E C) = FT ESSENTIAL EL TS COilTPREHENSI\/E BAND TI|t,r LAUTZENHEISEII PAUI LAVENDER llt Ha.loLEoNARD' L-coRPoRA-rICrN
rHE BASICS Poslure Sit on the edge of your chair, and always keep your: - Spine straight and tall . Shoulders back and relaxed . Feet flat on the floor Brealhing & Airstreqm 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. lt produces sound through the instrument. Your tongue is like a faucet or valve that releases the airstream. Producing The Essenficrl lone "Buzzing" through the mouthpiece produces your tone. The buzz is a fast vibration in the center of your lips. Your embouch ure (ahm'-bah-shure) is your mouth's position on the mouthpiece of the instrument. A good embouchure 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 . Form your "buzzing" embouchure. . Pface 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 buzz with the syllable "tah." Buzz through the center of your lips keeping a steady, even buzz. Your lips provide a cushion for the mouthpiece. Ierking 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. . Remove the mouthpiece and slide assembly. Do not take the outer slide off the inner slide piece. Return the instrument to its case. . Once a week, wash the mouthpiece with warm tap water. Dry thoroughly. Trombone slides occasionally need oiling. To oil your slide, simply: . Resthe tip of the slide on the floor and unlock the slide. . Exposing the inner slide, put a few drops of oil on the inner slide. ' Rapidly move the slide back and forth. The oil will then lubricate the slide. . Be sure to grease the tuning slide regularly. Your director will recommend special slide oil and grease, and will help you apply them when necessary. MOUTHPIECE WORKOUT Using only the mouthpiece.form your embouchure carefully. Take a deep breath without raising your shoulders. Begin buzzing your lips by whispering "tah" and gradually exhale your full airstream. Strive for an even tone. tttg/htt I REsr l',ffiJ REsr I
Getting lf logether mouthpiece luning slide { moulhpiece receiver \ slide lock ring connecfor nnl second slide broce -l first slide broce ll;e:**rr.4. :dtuti,,i* Step I Step 2 Step 3 Step 4 Step 5 ouler slide weiler key Lock the slide by turning the slide lock ring to the right. Carefully put the slide into the bell section at a 90" angle. Tighten the connector nut to hold the two sections together. Carefully twist the mouthpiece to the right into the mouthpiece receiver. Place your left thumb under the bell brace, and your index finger on top of the mouthpiece receiver. Gently wrap your other fingers around the first slide brace. Place your right thumb and first two fingers on the second slide brace. Support the trombone with your left hand only. Unlock the slide. Your right hand and wrist should be relaxed to move the slide comfortably. Hold the trombone as shown: READING MUSIC Music Sroff ldentify and draw each of these symbols: Ledger Lines Meqsures & Bqr Lines Measure Measure The music staff has 5 lines and 4 spaces where notes and rests are written. Ledger lines extend the music staff. Notes on ledger lines can be above or below the staff. _\ _\ _\ Bar Line Bar Line Bar Line Bar lines divide the music staff into measures.
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. I. THE long Tone H FIRST NOTE Hold each long tone until your teacher tells you to rest. F 1 To pley"F," bring the slide up to first position. 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 & t + v l 2. COUNT AND PIAY Count: 1 & 2 Tap: JTJ 3. A NEW NOTE Nofes And Rests 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 a Quarter Note = 1 beat \ t Quarter Rest = 1'silent beat &3&4& 1&2&3&4& l&2&3&4& 1a2&3&4& TJTJT JTJTJTJ1 J1JTJTJT JTJ1JTJT Look for the slide position diagram under each new note. .i L. /=l- \- ---\y 7 \-/ 7 ]ltrJ t l{tr) | 4\ a:1, /':\ ,':\ \ \ ,:\ ,:\ -\ ,!\ ,- v v t v v t a- ;;-- ---G Eb 3 \ "Eb (E-flat)" is played in third position. 4. TWO'S A TEAM Count &Tap: 5. HEADING DOWN Practice long tones on each new note. \\\\ a:r ,:\ 4\ r':\ \\\\ v t, v v \-- \\\\ -. a-t -.: 4 6. MOVING ON UP ,/A L. lrFa? r-, L. -\9 frE,J I \7 7 ItE> | Count&Tap: 1 a 2
Double Bor - indicatestheend ' -----tl of a piece of music. Repeor sisn : H:ffi:*"iffis;;iffi:" 7. THE IONG HAUL Double Bar t c 6 8. FOUR BY FOUR Count&Tap:1&2&3 9. TOUCHDOWN Repeat Sign I t:l a:\ a:r 4r a\ v t t, v a Gt f! G' aa a Bb 1 I O. THE Bqss Clef (F Clef) indicates the position of note names on a music staff: Fourth line is F. Shorp f Flor b Nqturql h I I. READING Time Signofure 1a2& Note Nqmes Each note is on a line or space of the staff. These note names are indicated by the Bass Clef. \ / 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. THE NOTES Compare this to exercise tL,THE FAB FIVE. { - t o F TIEleT !r /A L- NI.J I !r /i L- NEJ I v\2 7 vv 7 FAB FIVE -\ -\ tt v .a\ a L.a L.a !. ^a h a GI v a r'v aY tv ta'v I 1& 2 & 3 & 12. FIRST FLIGHT 4 & & 2 & & 4 & 13. ESSENTIAL ETEMENTS QUIZ Fitlin the remaining note names before playing. ,,w BbCD
Eb Notes In Review Memorize the slide positions for the notes you've Iearned: 14. ROLLING ATONG --pI 4 Bb -p.- c + D 1 Go to the next line. 1 I ^ - Double Bar 15. RHYTHM RAP Clap Holf Resf 1a 2 & Clap the rhythm while counting and tapping. Holf Note I O1=2Beats 1e2& = 2 Silent Beats I Repeat Sign I 1&2&3&4& f &2&3&4& l&2&3&4& 1&2&3&4& l&2&3&4& I &2&3&4& I6. THE HALF COUNTS 1&2&3&4& 1&2&3&4& 1a2&3&4& 1s2&3&4& 1a2a3a4a 1a2a3a4e 17. HOT CROSS BUNS Try this song on your mouthpiece only. Then ptay it on your instrument. V - Breofh Mork ) I8. GO TEIL AUNT RHODIE Take a deep breath through your mouth after you play a full-length note. American Folk Song , 19. n ESSENTIAI EtEfrtENTS QU1T using tne note names and rhythms below, draw your notes on the staff beforc ptaying. ))) EbDEb ))))))))) EbFEbDEbDCBbC
Whole Note O,----+>=4Beats 1a2&3&4& Whole Resf - A Whole Measure of Silent Beats Whole Rest Half Rest _.------rI hangs from sits on a a staff line. staff line. 20. RHYTHM RAP Clap 1a2&3&4& Clap the rhythm while counting ond tapping. 1a2a3a4a 1&2a3a4a 7&2a3a4a 21. THE WHOTE THING 1s2a3a4a 1a2&3&4& 1&2a3a4a 1&2&3&4& 1&2a3a4a l&2a3a4a 1&2a3a4a 1a2&3&4& 1&2a3a4a Duet A composition with two different parts, played together. 22. SPLIT DECISION - Duet , :I The Key Signature tells us which notes to play with sharpt (#) or flats (b) tf,rorgl',ort the music. Your Key Signature indicates the Key of Bb - play all B's and E's as flats. { - E C) 7t Key Sigholure 23. MARCH STEPS , , , \ PloyBb's andEb's 24. USTEN TO OUR SECT|ONS Percussion Woodwinds Brass Percussion Woodwinds Brass Ww. Atl 25. UGHTIY ROW ESSENTIAL ELEMENTS GIUIZ Draw in the bar tines before you ptoy. . | 1, | | I I ---- I 26. ,n
Fermotq A Hold the note (or rest) longer than normal. REACHING HIGHER - New Note Practice long tones on each new note. Fermata I A ltl - - - tI G 28. AU CIAIRE DE tA IUNE French Folk Song llz rt (1 . 29. RElt/llx t t ::.,.:. a?:i; li:r,' -t:' l.i'., I J:: l, :1 ., . ..''lj .- )r, a:OE ' lr.o' :;lI i ';E. ::l=. 30. :I ,|'. ',E'i''t ,til,'': iF,.t .' l:lyl' i'ir- : #,, 31. Hormony Two or more notes played together. Each combination forms a chord. TONDON BRIDGE - Duet English Folk Song Austrian composer Wolfgang Amadeus Mozaft(1756-1791, was a child prodigy who started playing professionally at age six, and lived during the time of the American Revolution. Mozartt 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." A MOZART METODY Adaptation ) , I t - Drow these symbols where they belong and write in the note names before you play: ): ft 32. ESSENTIAL ELEMENTS GIUIZ ,ll
DEEP POCKETS - New Note F- ---irr-l 2 34. DOODLE Att 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. L rtl lllttl 4 & 1a2a3a4a 1&2a3a f - forte (play loudly) ,If - mezo forte (play moderately loud) p - piano (play softly) Remember to use full breath support to control your tone at all dynamic levels. Dynomics 37. IOUD AND SOFT Clap f 38. JINGLE BEttS Also practice new music on your mouthpiece only. ryf J. S. Pierpont I 7l^ sttl f 39. MY DREYDT IJse futt breath support at all dynamic levels. Traditional Hanukkah Song t ^ I l , ltt-r I
10 Eighth il 1 & Notes Each Eighth Note = 1/z Beat 2 Eighth Notes = 1 Beat Play on down ond up taps. J-* J-* nn 142& Two or more Eighth Notes have a beam across the stems. 1 Beam nJ1 =m 40. RHYTHM RAP Ctap the rhythm while counting and tapping. Clap 1& 2 & 3 & 4 & 1a 2 & 3 & 4 & 41. EIGHTH NOTE JAM & 4 & & 2 & 3 & 4 & 1 a 42. SKIP TO 2 & 3 & 4 MY tOU 2 & 3 & 4 & American Folk Song *f 43. LONG' LONG AGO Good posture improves your sound. Atways sit straight ond talt. 44. OH, SUSANNA Stephen Collins Foster ltl ) f 7r^ f tafian 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 still heard today on radio and television. ESSENTIAL ELEMENTS GIUIZ - WIIIIAM TEtt Gioacchino Rossini I - - "!f . I f l - - - - f
1 1 I .'lt 2 4 Conducfing Practice conducting this two-beat pattern. ''rl - E 0 7 :, ::-:, i.,1r,: : . : ', Time Signofure 46. RHYTHM RAP Clap 2 beats per measure Quarter note gets one beat 1a2&1p2& 47. TWO BY TWO &2& &2 & I &2 & 1 & 2 & 1&2& 1a2& Tempo Morkings 48. HIGH SCHOOL CADETS - Morch Allegro Tempo is the speed of music. Tempo markings are usually written above the staff, in ltalian. Allegro - Fast tempo Moderato - Medium tempo Andante - Slower walking tempo John Philip Sousa f 49. HEY HO! NOBODY',S HOME Moderato Reproduced by Permission of Eoosey & Hawkes Music Publishers Ltd. I a) a) - - Dynomics 50. CLAP THE DYNAMICS Clap Crescendo (gradually louder) Deitcrescendo orDiminuendo (grad ual ly soft er) pf 5I . PIAY THE DYNAMICS p
12 PERFORTNANCE SPOTLIGHT 52. PERFORMANCE WARM-UPs TONE BUILDER A RHYTHM ETUDE CHORALE Andante A I I I ;-fi--4, I D p "!f AURA LEE - Duet or Bqnd Arrqngement (Part A = Melody, Part B = Hormony) Andante - f -=- ,!f 54. FRERE JACQUES - Round (when group A reaches @, group B begins at @) - 53. A B A B A *!f George R. Poulton =r--- "f -ffi - "f - I p *f ' l t l f *f ..--- p A Moderato o French Folk Song I |Ll- -d -1 f
13 55. WHEN THE Allegro PERFORINANCE SPOTLIGHT SAINTS GO MARCHING lN - Bond Arrongement E '" Meosure number Arr. by John Higgins ltt rt fl . ryf tr . I l, | ^ t 7t^- f EI r ^ t r f l 56. OtD MACDONATD HAD A BAND - Section Feqture Allegro I h 2nd time go on to meas. l3 "l 57. ODE TO JOY (from Symphony No. 9) Moderato Ludwig van Beethoven Arr. by John Higgins I ,lf -? I l , 58. HARD ROCK BTUES - Encore Allegro John Higgins
1 4 Tie 59. FIT TO BE TIED A curved line connecting notes of,ttre same pitch. Play one note for the combined counts of the tied notes. ffi =2Beats ltl 2 beats I 60. ATOUETTE French-Canadian Folk Song 3 beats J Doffed Holf Nofe I jo+=3Beats 1 a 2 & 3 & I I I d. < Dot A dot adds half the value of the note. )._) = ) . 2beats+lbeat = 3beats 6I. ALOUETTE - THE SEGIUET French-Canadian Folk Song .}. fr,. ,:l).':: .':h"i :'{1,.1; iI r: .E. 62. American composet Steph€n Collins Foster (1826-1864) was born near Pittsburgh, PA. He has become the most recognized song writer of his time for work such as"Oh Susanna,"which became popular during the California Gold Rush of 1849. Among his most welFknown songs are"My Old Kentucky Home'and "Camptown Races." CATIAPTOWN RACES Allegro Stephen Collins Foster ,f 63. NEW DIRECTIONS 64. THE NOBLES Always use a fulloirstream ond maintain good posture. 65. ESSENTIAI ELEMENTS QUIZ
3 Time Signofure 66. RHYTHM RAP Clap 3 beats per measure Quarter note gets one beat Conducting Practice.conducting this three-beat pattern. N---z+ I ,l I Y 1s2a3a 1&2a3a 67. THREE BEAT JAM 1 & 2 & 1&2a3a 1&2a3a a2a3a &2a3a 1a2a3a 1&2 a 3 a 68. BARCAROTTE Moderato 1a2a 3 a & 2 a2a3a a 2 ) 3 a a 2 3 a 2a3a 1&2&3& Jacques Offenbach - Norwegian composer Edvard Grieg (1843-1907) wrote PeerGyntSuitefor aplay by Henrik lbsen in 1875,the year before the telephone was invented by Atexander Graham Bell. "Morning"is a melody from Peer Gynt Suite. Music used in plays, or in films and television, is called incidental music. *f 69. ,YIORNING (from Peer Gynr| Andante Edvard Grieg ,!f Accent 70. ACCENT Clap Emphasize the note. TALENT I ,) 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 instrumentr tu.h as maracas and claves. Music from Latin America continues.to influence jazz, classical and popular styles of music. "Chiapanecas" isa popular children's dance and game song. 71. MEXICAN CLAPPING SONG ("Chiopqneccrs"l f 72. ESSENTIAI CREATIVITY Compose your own music for measures 3 and 4 using this rhythm: )tl
1 6 4 C' g - tAccidenfol Any sharp, flat or natural sign which appears in the music without being in the key signature is called an accidental. HOT MUFFINS - New Note Flqt b A flat sign lowers the pitch of a note by a half-step. The note A-flat sounds a half-step below A, and all A's become A-flats for the rest of the measure where they occur. 73. Ar+ 74. COSSACK DANCE Allegro _\ Ab J Flat applies to allA's in measure. tAb ]. I'O ta -ta f 75. BASIC BTUES - New Note tAb Flat applies to allA's in measure. I Ir llz E C' E - I- This Key Signature indicates the Key of Eb - play all B's as B-flats, all E's as E-flats, and all A's as A-flats. a Play through the l st Ending. Then play the repeated section of music, skipping the l st Ending and playing the 2nd Ending. 76. HIGH FLYING Moderato tAb L Au+ =FF New Key Signofure ry I st & 2nd Endings . | 1, a t-| ryf llz I 1. gl o F q I - 2!rd + .- _____l nme Japanese folk music actually has its origins in ancient China. "Sakura, Sakura"was performed on instruments such as the koto, a 13-string instrumenthat 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. 77. SAKURA, SAKURA - Bond Arrongemenl Andante Japanese Folk Song Arr. by John Higgins o t fD . ryf -? *f - _ D a r l I I ht-
1 7 78. UP ON A HOUSETOP Allegro n: crrlct "If Key Signature f 79. :I JOLTY OLD ST. NICK - Duet Moderato ryf See page 9 for additional holiday music, MY DREYDL and JINGLE BELLS. 80. THE BIG AIRSTREAM - New Note n: 1 8I. WATTZ THEME Moderato !rl-lll- I -\ Bb (THE MERRY WIDOW WALTZ) 4f - H -t ) LJ '-1 ) F Franz Lehar - @ Glocken Verlag Ltd.,London Rep.oduced by Permission *!f 82. AIR TIME 83. DOWN BY THE STATION Allegro ,f 84. ESSENTIAT ETEMENTS Moderato Glurz rffi "f f 85. ESSENTIAI CREATIVITY Ltsing these notes, improvise your own rhythms: 2 ; 2 a h - ffi. { D . D . D ( t l.l
1 8 ?DATLY wARrn-uPs WORK-OUTS FOR TONE &TECHNIQUE 86. TONE BUIIDER tJse o steady streati of air. , 87. RHYTHM BUITDER r|: --L,--J ffi 88. TECHNIGIUE TRAK 89. CHORATE (Adapted from cantata 147) Johann Sebastian Bach A A _--_-. Theme qnd Vqriotions A musical form featuring a theme, or primary melody, followed by variations, or altered versions of the theme. p 4 C' ltl - l90. VARIATIONS ON A FAMITIAR THEME Theme Variation 1 I Variation 2 At the D.C. al Fine play again frorn tf'," beginning, stopping at Fine (fee'- nay). D.C. is the abbreviation for Da Capo, or "to the beginning," and Fine means "the end." D.C. ql Fine 9I. BANANA BOAT SONG Moderato Caribbean Folk Song
RAZOR'S EDGE rffi 2 Nqturol 92. E 93. THE MUSIC BOX A natural sign cancels a flat (b) or sharp (f) and remains in effect for the entire measure. - New Note 1 9 rl - t c)' - Moderato 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. EZEKIET SAW THE WHEET - I t6{ o -, African-America n Spiritual Allegro Slur A curved line which connects notes of different pitch. Tongue the first note normally. Then, play the slurred note(s) using "dah'ia legato tonguing syllable. Legato - An ltalian word for smooth and connected. 95. SMOOTH OPERATOR J SIur 2 notes. Tongue the first note. Use"doh" on the second note. 96. GTIDING ATONG \ Slur 4 notes. Tongue the firct note. Useuah" on all notes connected by a slurRagtime is an American music style that was popular from the 1890's until the time of World War l. This early form of jaz brought fame to pianists like'Jelly Roll'Morton and Scott Joplin, who wrote"The Entertainer'and "Maple Leaf Rag." Surprisingly, the style was incorporated into some orchestral music by lgor Stravinsky and Claude Debussy. A specialtrombone technique used in ragtime and other styles of musii is called a glissando, which look like this: , giss' To play a glissandq move your slide without tonguing and use a full airstream. Remember that glissandos are | - t different from legato tonguing (slurs). ' I 97. TROMBONE RAG Allegro r r,A. l t. 1 stiss. - I 6 r{ o *t llz al f 98. ESSENTIAL ELEMENTS QUIZ n Andante
20 99. TAKE THE IEAD - New Note 1 A tEb 2 ,11 . F a PhfqSe A musical"sentence"which is often 2 or 4 dreasures long. Try to play a phrase in one breath. . - F. ,ii. ,", cotD wrND Phrase Phrase prf I O | . PHRASEOLOGY Write in the breoth mark(s) between the phrases. sAb f New Key Signofure This Key Signature indicates the Key of F - play all B's as B-flats. pf Multiple Meosure Resf The number above the stafftells you how many full measures to rest. Count each measure of rest in sequence: 2 I l-z-z-q 2-z-z-q SATIN TATIN Allegro 1-z-z-+ ,!f 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 composeL 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. ,YIINUET - Duet Johann Sebastian Bach Moderato \\--.-// ESSENTIAL CREATIVITY This metody can be played in 3/4 ot 4/4. Pencil in either time signatute drow the bar lines and play- Now ense the bar lines and try the other time signature. Do the phrcses sound different? "f I 04. -,:ii't f..4- J/- *-v 1r'
21 I 05. NATURALLY Austrian composer Franz Peter Schub€rt (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), ten symphoniet chamber music, operas, choral work and piano pieces. His "March Militake"was originally a piano duet 106. TAARCH MITITAIRE Allegro Franz t Schubert lO7. THE FIAT ZONE - New Note illnt r-al -7V' I 08. ON TOP OF OtD SMOKEY Allegro I .r (, . I ADb American Folk Song t09 :I Boogie-woogie is a style of the blues, and it was first recorded by pianist Clarence"PineTop"smith in 1928, one year after Charles Lindbergh's solo flight across the Atlantic. A form of jazz,blues music features altered notes and is usually written in 12-measure verses, like "Bottom Bass Boogie." . BOTTOM BASS BOOGIE - Duet Allegro ta l-t f Ir. A B f IJ ta ta ta tr--------l
22 Doffed Gluorter & Eighth Notes I I O. RHYTHM RAP Clap t|\ J. -* al = 2 Beats 1&2& [< A single eighth a ) note has a flag on the stem, J--) A dot adds half I - the value of the ) _ ) ) quarternote' t & 2 & 1& 2 & 3 & 4 & 1a 2 & I I I. THE DOT ALWAYS COUNTS 1& 2 & 3 & 4 & 1& 2 I12. Att THROUGH THE NIGHT 3 & 4 & Fine 3 & 4 & D.C. al Fine I I 3. SEA CHANTY Always use a full airstream. Moderato ryf I 14. SCARBOROUGH FAIR Andante English Folk Song I l , t-l f -nf -? I 15. RHYTHM RAP Clap 1a 2 & 3 & 4 & 1 I 16. THE TURNAROUND & 2 1& 2 & 3 & 4 & 1& 2 & 3 & 4 & 1a 2 ESSENTIAT ELEMENTS GIUIZ - AUID 1ANG SYNE --.- f A Check Rhythm & 2 & 3 & 4 & scottish Folk song | 17. ffi' Andante
PERFORTNANCE SPOTHOHT Solo wirh Piqno Accomponiment I 18. 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 Dvoriik (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. 23 Antonin Dvor5k E* - p Piano Accompaniment lFl slor""t
24 SPECIAI TROMBONE EXERCISE - Lip Slurs Lip Slurs are notes that are slurred without changing positions. Brass players practice these to develop a stronger airstream and embouchure, and to increase range. Add this pattern to your daily Warm-Ups: Great musicians give encouragement to fellow peformers. On this page,clatinetists leon theh instruments' upper register in the "Grcnadillo Gorilta Jumps' (named aftet the grcnodilla wood used to make clainets). Brass ployets learn lip slurs, o new warm-up Wttern, The success ofyour band depends on everyoneb effort and encourugemenL | 19. GRENADIIIA GORltlA JUMP No. I lt/a- 2 2 I lt ' I20. JUMPIN1 UP AND DOWN l2l. t'. , i ::,'i-., ;.-;') f-i :li:g<t:l Alternate position 122. GRENADIIIA GORILLA JUMP No. 2 FOR JOY ffi 6 JUMPIN' L .r + t- l - I I ! Ploy all"F's" in 6th position in this exercise. | 23. GRENADILTA GORIILA JUMP No. 3 ll,t-t- . I tt . . D ( D t-I I24. JUMPIN'JACKS .... :' r : l :1nr..:: , ...-t , .!. ;,4- i.,j(E),:ll l;;{:.;':. {-:'.1 :1.1;;,. r;j'i'::':. : l' _,r -'r::-!j. l . _ ,, ,.r. lntervql The distance between two pitches is an interval. Starting with "'l" 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-r 3rd-r 4th-r 5th-r 6th-t 7th Octave {} {} 125. -:;'- 9v'L i,-"r.'L ESSENTIAL ELEMENTS QUIZ write in the numbers of the intervols, counting up from the lower notes. lntervals: t2nd I t l
25 126. GRENADILTA GORILLA JUMP No. 4 127. THREE IS THE COUNT | 28. GRENADIIIA GORlttA JUMP No. 5 I2g. TECHNIQUE TRAX | 30. ,,,@ cRossrNG + rtF: 3 OVER - New Nofe -\c A trio is a composition with three parts played together. Practice this trio with two other players and listen for the 3-part harmony. Trio l3l. KUM BAH YAH - Trio Always check the key signature. Moderato African Folk Song A ---
26 R.epeot Signs 132. MICHAET ROW THE BOAT ASHORE Repeathe section of music enclosed by the repeat signs. (lf I st and 2nd endings are used, they are ployed as usual - but go back only to the first repeat sign, not to the Qeginning) Africa n-American Spi ritua I Andante llz A - Austrian Folk Song I33. AUSTRIAN Moderato WATTZ f I34. BOTANY BAY Allegro Australian Folk Song .| L ,If gA o,g - I= C Time TIr Signofure = Common Time n (Same asfi) Conducting Practice conducting this four-beat pattern. | 35. TECHNIQUE TRAX Practice atall dynamic levels. I36. FINLANDIA Andante .-: Jean Sibelius _-_ llz. 137. ESSENTIAT CREATIVITY Create your own variations by penciling in a dot and a flog to change the rhythm of any measure from p _-- o Ereirkopf& Haertel,Wiesbaden - Leipzig lJ ) l'lJ ,bl #, .t (, --)
27 I38. EASY GORITLA JUMPS | 39. TECHNIGIUE TRAX Alwoys check the key sisnoture. I40. MORE TECHNIGIUE TRAJK T4I. GERMAN FOIK SONG Moderato I r. llz. I42. THE SAINTS GO 'YIARCHIN'AGAIN Allegro ni ,!f James Black and Katherine Purvis I43. LOWTAND GORILTA WAIK 144. SMOOTH SA|UNG I45. 'YIORE GORITTA JUMPS 146. FUtt COVERAGE
28 E ,:€;r:l :.r5'r;:. ,-. ,.F: a:iri:,:.. ' 1 '.i:,.'..i ' Scole 147. CONCERT Bb SCALE Scale Steps: 1 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 Bb (two flats), so the top and bottom notes are both Bb's. The interval between the Bb's is an octave. Octave 4 Octave 5 -4. ::O, {:lif .. i.fi,',, 't. Chord & Arpeggio 148. lN HAR VTONY Divide the notes of the chotds between band members and play together. Does the aryeggio sound like a chotd? When two or more notes are played together, they form a chord or harmony. This Bb chord is built from the 1st, 3rd and 5th steps of the Bb scale. The 8th step is the same as the 1 st, but it is an octave higher. An arpeggio is a"broken"chord whose notes dre played individually. Arpeggio-------1 13531 ;- Arpeggio t3s3 Chord 853s8 I49. SCATE AND ARPEGGIO Scale Arpeggio Arpeggio 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. THEME FROM "SURPRISE SYMPHONY" Andante Franz Josef Haydn I I t /l^l l5l. ,ffi' ESSENTIAT ELEMENTS QUIZ - THE STREETS OF 1AREDO Write in the note names beforeyou play. American Folk Song llz
PERFORIUIANCE SPOTHOHT | 52. SCHOOI SPIRIT - Bqnd Arrongement March Style 29 W.T. Purdy Arr. by John Higgins E -, Measure Number E Soli | 53. CARNIVAL OF VENICE - Bond Arrongement Allegro When playing music marked Soli, you are part of a group "solo" or group feature. Listen carefully in "Carnival of Venice,"and name the instruments that play the Soli part at each indicated measure number. Julius Benedict Arr. by John Higgins 8 l a o r I l ,!f E
30 nDAILY WAR.TN.I'PS I54. RANGE AND FTEXIBITITY BUITDER 156. CHORATE WORK-OUTS FOR TOiV E & TECH N IQU E Johann Sebastian Bach e o F I I - -9 The traditional Hebrew melody"Hatikvah"has been lsrael's nationalanthem 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 Orchestra at its conclusion. I55. TECHNIGIUE TRAK lsraeli National Anthem I I t, I 7l--l t - f
31 Eighth Nofe & Eighth Resf N Jt = 1/2 beat ofsound 7 = 1/2 beat of silence J-J-T: Jt Jt 1&2& fTll 7)t) l&2& 1& 2 & 1& 2 & 1 & 2 & 1a 2 & I59. EIGHTH NOTE MARCH 1& 2 & 1& 2 & 1a 2 & 1a2 & 1& 2 & I60. MINUET Moderato 1&2& I &2 & 1a2 & 1a 2 & 1&2 & 1a 2 & 1& 2 & Johann Sebastian Bach 1& 2 & 3 & 4 & 1& 2 & 3 & 4 & 162. EIGHTH NOTES OFF THE BEAT 1a 2 & 3 & 4 & 'l a 2 & 3 & 4 & 1&2&3&4& 1a2& 3&4& la2& 3&4& t&2& 3&4& 163. EIGHTH NOTE SCRAMBLE olr' I ar aJ h l t l 164. ESSENTIAL ELEMENTS GIUIZ Andante ffi mf f p l . |' I
32 165. DANCING METODY - 166. Et CAPITAN Allegro American composer and conductor John Philip Sousa (1854.-]932) wrote 136 marches. Known as l'The March King," Sousa wrote The Stors And Stripes Forever,semper Fidelis,TheWashington Postand many other patriotic works. Sousa! band performed all over the country, and his fame helped boost the popularity of bands in America. Here is a melody from his famous EtCapitan operetta and march John Philip Sousa N"Y AGb Reproduced by Permission of Boosey & Hawker Music Publishers Ltd. .> 4 ':€)' il=. '2 ..+ "O Canada," formerly known as the "National Song," was first performed during 1 880 in French Canada. Robert Stanley Weir translated 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. 167. O CANADA Maestoso (Majestically) Calixa Lavallee, l'Hon.Judge Routhier and Justice R.S.Weir ,If ESSENTIAL ETEMENTS GIUIZ I 68. - METER MANIA Count and ctap before ptoyins. Can you conduct this? --:4 t L?r{- .,-,.- !zE ':-',tt-
33 C*andgb pIsn66b Y Y Enhqrmonics fwo 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. 169. SNAKE Gb/rfr On a piano keyboard,each black key is both a flat ond a shorp: {=- tf, o 7t CHARMER I rr-'------4.--.--.- 5 lGb IFil C D E F GIA B C Enharmonic notes use the same position. rtaD 170. J Pick-up note DARK SHADOWS l7l. closE Db/c# ENCOUNTERS ffi 5 172. MARCH SIAV Largo Enharmonic notes use the some position. lcf _\ Db Peter I I lyich Tchaikovsky 173. NOTES IN DISGUISE Chromqfic Nofes 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 half-step, and a scale made up of consecutive half-steps is called a chromatic scale. -l - t o t, I74. HALF-STEPPIN'
34 e o f6 I '= ,': ,:l French composer Camille Saint-Sa6ns (1835-'1921) wrote music for virtually every medium: operas, suites, symphonies and chamber works. The "Egyptian Dance" is one of the main themes from his famous opera Samson et Delilah. The opera was written in the same year that Thomas Edison invented the phonograph-1877. l7 5. EGYPTIAN DANCE Watch for enharmonics. Camille Saint-Sa€ns Allegro t l | 1 , t f I t I I l l 176. SIwER MOON BOAT Largo Chinese Folk Sonq D.C. al Fine > 4 'o F ; :,- IE)jri 1._l A B German composer Ludwig van Beethoven (1770-'1827) is considered to be one of the world's greatest composers, despite becoming completely deaf in 1802. Although he could not hear his music the way we can, he could "hear" it 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 SYTYIPHONY NO. 7 - Duet Ludwig van Beethoven Allegro (moderately fast) p ,a\ f- -, a\ f-, A | , A B Ir
Russian composer.Peter lllyich Tchaikovsky (1840-1893) wrote six symphonies and hundreds of other works including The Nutcracker 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 18 l2 Overture and Copriccio ltalien were both.written in t ggO.-the year after Thomas Edison developed the practical electric light bulb. a 178. CAPRICCIO lTAtlEN Always checkthe key sisnature. Peter | | lyich Tchaikovsky Allegro Ir. tft f 179. AMERICAN PATROL Allegro F.W. Meacham I 80. WAYFARING STRANGER Andante African-America n Spi ritual a t t p l8l. ESSENTIAT ELEMENTS QUIZ - SCALE COUNTING CONQUEST ffi'I . D a) -
36 BEAUTIFUL - Bond Arrongemenf Samuel A.Ward Arr. by John Higgins PERFORIUIANCE SPOTTIOHT I82. AMERICA THE Maestoso - > -- FlAndante p | 83. tA CUCARACHA - Bond Arrongement Latin Rock Latin American Folk Song Arr. by John Higgins -p E= f
PERFORMANCE SPOTLIOHT |84. THEME FROM |8|2 OVERTURE - Bond Arongement Allegro 37 Peter I llyich Tchaikovsky Arr. by John Higgins f .E 4 f ,f I I t 7l^l A I
38 Performing for an audience is an exciting part of being involved in music. This solo is based on Symphony No. f by German composer Johannes Brahms (1833-1897). He completed his first symphony in 1876, the same year that the telephone was invented by Alexander Graham Bell. Vou and a piano accompanist can perform this for the band or at other school and community events. | 85. THEME FROM SYMPHONY NO. | - Solo (Concert sion) PERFORTUIANCE SPOTLIOHT Solo with Piqno Accomponimenf Trombone Piano Eb ver E Johannes Brahms Arr. by John Higgins r "f ?I I ,T-. -----------:- nf ---.--\\
DUETS Here is an opportunity to get together with a friend and enjoy playing music. The other player does not have to ptay the same instrumeot as you. Try to exactly match each other's rhythm, pitch and ione quality. Eventualty, it may begin to sound like the two parts are being played by one person! Later, try. switching parts. . SWING tOW SWEET CHARIOT - Duet African-American Spiritual Andante 39 t86 :I A B ta ta ta ,If D.C. al Fine 187. :[E [A BAMBA - Duet Allegro Mexican Folk Song A B D.C. al Fine -r I Ft ,) 1 p -t - p
40 R,UBANK: SGATE AND ARPEOOIO STUDIES KEY OF Bh tn this kry r:,ignoture, play all Bb's and Eb's. l. t 7l^lz - 4. . | 1, . - | ^ ^ . | 1 , KEY OF Eb ln this key signature, ploy allBb's,Eb's and Ab's. l. ltl c r ll . t-l 2. l. I a t . I l , t-l ,> 3. tr, .| L . 'l^l
4 1 RUBANK' SCATE AND ARPEOOIO STUDI-S KEY OF F ln this key signature, play allBb's. l. t a l. 3. I !r KEY OF Ab tn this key signature,playllBb's,Eb!Ab3 andDb's. l. t l r r If l^ I 4. I It L . l-lv -) t l Llv
42
43 nRHYrHm sruDlEs
44 ; '4. .'(E)'' .lr iE,: F .t !': l. 2.Answer 3.Question CREAflNO MUSrc : , Composition ODE TO JOY l.Question Composition is the art of writing original music. A composer often begins by creating a melody made up of individual phrases,like short musical"sentences." Some melodies have phrases that seem to answer or respond to'Question" phrases, as in Beethoven's OdeTo Joy. Play this melody and listen to how phrases 2 and 4 give slightly different answers to the same question (phrases 1 and 3). Ludwig van Beethoven 4.Answer 2. Gl. AND A. Write your own "onswer" phrases in this melody. l.Question 2.Answer I 3. A 4.Answer PHRASE BUIIDERS Write 4 different phrases using the rhythms below each staff. ) n) n fTTf) . | ]t . ) . 4. YOU NAME IT: rTT ) Pick phrase A,B,Cot D from above, and write it os the "Question'for phrases I and 3 below. Then w te 2 different Answerc'fot phrases 2 and 4. l.Question 2.Answer D 3.Question 4.Answer lmprovisqfion lmprovisation is the art of freely creating your own mefody osyou play. lJse these notes to play your own melody (Line A),to go with the accompaniment (Line B). 5. STANT A B IN [E MELODY
45 I ou can mark your progress through the book on this page. Fill in the stars as instructed by your band director. 27281 26 25 24 ESSENTIAL ELETNENTS STAR. ACHIEVER 20 NAIIE 19 23 22 21 10 1 8 11 17 12 16 15 M 1 3 1. Page 2-3,The Basics 15. Page 22,EE Quiz, No. 1 17 2. Page 5, EE Quiz, No. 13 16. Page 23, Performance Spotlight 3. Page 6, EE Quiz, No. 19 17. Page 24,EE Quiz, No. 125 4. Page 7 ,EE Quiz, No. 26 18. Page 26, Essential Creativity, No. 1 37 5. Page 8, EE Quiz, No.32 19. Page 28, No.149 6. Page 10, EE Quiz, No.45 20. Page 28, EE Quiz, No. 151 7. Page 12-'l3,Performance Spotlight 21. Page 2g,Performance Spotlight B. Page 14,EE Quiz, No. 65 22. Page 31, EE Quiz, No. 164 9. Page 15, Essential Creativity, No.72 23. Page 32,EE Quiz, No. 168 10. Page 17,EE Quiz, No. 84 24. Page 33, No. 174 1 1. Page 17, Essential Creativity, No.85 25. Page 35, EE Quiz, No. l Bl 12. Page 19, EE Quiz, No.98 26. Page 36, Performance Spotlight 13. Page 20, Essential Creativity, No. 104 27. Page 3T,Performance Spotlight 14. Page 21, No.109 28. Page 38, Performance Spotlight N'IUSIC I AN ESSENTIAL ETEINENT OF LIFE
46 POSIIION CHART TROTIBONE Numbers below thi not€s = Slide positions lnstrument courtesy of Yamoha Corporotion of America, Eand and Orchestral Division Inslrumenl Care Reminders 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. . Remove the mouthpiece and slide assembly. Do not take the outer slide off the inner slide piece. Return the instrumento its case. ' Once a week, wash the mouthpiece with warm tap water. Dry thoroughly. Trombone slides occasionally need oiling. To oil your slide, simply: . Resthe tip of the slide on the floor and unlock the slide. . Exposing the inner slide, put a few drops of oil on the inner slide. . Rapidly move the slide back and forth. The oil will then lubricate the slide. . Be sure to grease the tuning slide regularly. Your director will recommend special slide oil and grease, and will help you apply them when necessary. CAUTION: lf a slide or your mouthpiece becomes stuclt ask for help from your band director or music dealer. Special tools should be used to prevent damage to your instrument.
47 rRomBoilE G -- €r 4 B : 7 Df Eb POSIIION CHART Ffi Gb Afi Bb D (D - 1 or +4* Ffi, Gb fio-h+ F : --ict6 A - --<- 2 cfi Db ffi 5 ; -€> 7 Gfi Ab D 4 Ffi Gb G c : , E : 2 G$ Ab + 3 a 4 B _+ 4 D#, Eb fi-o-ve : 3 1 or 6 A - 2 or 6 c$ Db I il+Do- - + 2 c + 3 G + -2 F _o_ a 1 * + = Make the slide a little longer. **- = Make the slide a little shorter. a a 1 1 or 5 E {> -3*
48 Definitions (pg.) Accent 15 Accidental l6 Allegro 11 Andante 11 Arpeggio 28 Bass Clef 5 (Bass clef inst.) Bar Lines 3 Beat 4 Blues 21 Breath Mark 6 Chord 28 Chromatic Notes 33 Chromatic Scale 33 Common Time 26 Crescendo 11 D.C. al Fine 18 Decrescendo 1l Diminuendo '11 Dotted Half Note '14 Dotted Quarter Note 22 Double Bar 5 Duet 7 Dynamics 9 Eighth Note 10 Eighth Rest 31 Embouchure 2 (Brass&WW's) Enharmonics 33 Fermata 8 l st & 2nd Endings 16 Flat 5 Forte ("f) 9 Gfissando 19 (Trombone) Half Note 6 Half-step 33 Harmony 8 f nterval 24 Key Signature 7 Largo 23 Ledger Lines 3 Measure 3 Mezzo Forte (z:f) 9 Moderato 11 Multiple Measure Rest 20 Music Staff 3 Natural Sign 5 Notes 4 Phrase 20 Piano (p) 9 Pick-Up Notes 9 Quarter Note 4 Ragtime 19 Repeat Sign 5,26 Rests 4,6,7,31 Round (Canon) i2 Scale 28 Sharp 5 Slur 1 9 Soli 29 Solo 23,38 Tempo 11 Theme And Variations 18 Tie 14 Time Signature 5 Treble Clef 5 (Treble clef inst.) Trio 25 Whole Note 7 Gomposers JOHANN SEBASTIAN BACH . Chorale (from Cantata 147) 18 . Chorale 30 ' Minuet 20 . Minuet 3l LUDWIG VAN BEETHOVEN . OdeTo Joy (from Sym. No.9) l3 . Theme From Symphony No.7 34 JOHANNES BRAHMS . Theme From Sym. No. 1 38 (Brass & LowWW's) ANTONIN DVORAK . Theme From"NewWorld Sym." 23 STEPHEN COLLINS FOSTER ' Camptown Races 14 . Oh, Susanna 10 EDVARD GRIEG . Morning (from Peer Gynt) 15 FRANZ JOSEF HAYDN ' Theme From "Surprise Symphony" 28 FRANZ LEHAR . WaltzTheme "a7 WOLFGANG AMADEUS MOZART . A Mozart Melody 8 . Eine Kleine Nachtmusik 38 (High WW's) JACQUES OFFENBACH . Barcarolle l5 GloAccHtNo RosstNl . William Tell 10 CAMILLE SAINT-SAEN5 . Egyptian Dance 34 FRANZ SCHUBERT . March Militaire 21 JEAN SIBELIUS . Finlandia 26 JOHN PHILIP 5OU5A . El Capitan 32 . High School Cadets 11 PETER ILLYICH TCHAI KOVSKY . Capriccio ltalien 35 . March Slav 33 ' 1812 Overture 37 World Music AFRlCAN . Kum BahYah 25 AMERICAN . American Patrol 35 . America The Beautiful 36 . Aura Lee 12 . Ezekiel Saw The Wheel 19 . Go Tell Aunt Rhodie 6 . Michael Row The Boat Ashore 26 . On Top Of Old Smokey 21 . Skip To My Lou 10 . Swing LoW Sweet Chariot 39 . The Streets Of Laredo 28 . Wayfaring Stranger 35 . When The Saints Go Marching In '13,27 AUSTRALIAN . Botany Bay 26 AUSTRIAN . Austrian Waltz 26 CANADIAN . Alouette 14 . OCanada 32 CARIBBEAN . Banana Boat Song 18 CHINESE . Silver Moon Boat 34 ENGLISH . London Bridge 8 . Scarborough Fair 22 . Sea Chanty 22 FRENCH . Au Claire De La Lune 8 . Frdre Jacques 12 GERMAN . German Folk Song 27 ISRAELI . Hatikva 30 ITALIAN . CarnivalOf Venice 29 JAPANESE . Sakura, Sakura 16 MEXICAN . Chiapanecas 15 . La Bamba 39 . La Cucaracha 36 SCOTTISH . Auld Lang Syne 22 TRADITIONAL HOLIDAY MUSIC . Jingle Bells 9 . Jolly Old St. Nick 17 . My Dreydl 9 . Up On A Housetop 17 NREFERENCE INDEX
48 Definitions (ps.) Accent 15 Accidental l6 Allegro 11 Andante 11 Arpeggio 28 Bass Cf ef 5 (Bass clef inst.) Bar Lines 3 Beat 4 Blues 21 Breath Mark 6 Chord 28 Chromatic Notes 33 Chromatic Scale 33 Common Time 26 Crescendo 11 D.C. al Fine 18 Decrescendo 11 Diminuendo 11 Dotted Half Note 14 Dotted Quarter Note 22 Double Bar 5 Duet 7 Dynamics 9 Eighth Note 10 Eighth Rest 31 Embouchure 2 (Brass&WW's) Enharmonics 33 Fermata 8 1st & 2nd Endings 16 Flat 5 Forte ("f) 9 Glissando 19 (Trombone) Half Note 6 Half-step 33 Harmony 8 f nterval 24 Key Signature 7 Largo 23 Ledger Lines 3 Measure 3 Mezzo Forte ('nl) 9 Moderato 11 Multiple Measure Rest 20 Music Staff 3 Natural Sign 5 Notes 4 Phrase 20 Piano (p) 9 Pick-Up Notes 9 Quarter Note 4 Ragtime 19 Repeat Sign 5,26 Rests 4,6,7,31 Round (Canon) 12 Scale 28 Sharp 5 nREFER.ENGE INDEX Slur 1 9 Soli 29 Solo 23,38 Tempo 11 Theme And Variations 18 Tie 14 Time Signature 5 Trebf e Clef 5 (Treble clef inst.) Trio 25 Whole Note 7 Gomposers JOHANN SEBASTIAN BACH . Chorale (from Cantata 147) 18 . Chorale 30 . Minuet 20 . Minuet 3l LUDWIG VAN BEETHOVEN . Ode To Joy (from Sym. No. 9) 13 . Theme From Symphony No.7 34 JOHANNES BRAHMS . Theme From Sym. No.1 38 (Brass & LowWW's) ANTONIN DVORAK . Theme From "New World Sym." 23 STEPHEN COLLINS FOSTER . Camptown Races 14 . Oh, Susanna 10 EDVARD GRIEG . Morning (from Peer Gynt) 15 FRANZ JOSEF HAYDN . Theme From "Surprise Symphony" 28 FRANZ LEHAR . WaltzTheme '17 WOLFGANG AMADEUS MOZART . A Mozart Melody 8 . Eine Kleine Nachtmusik 38 (HighWW's) JACQUES OFFENBACH . Barcarolle 15 GIOACCHINO ROSSINI . William Tell 10 CAMILLE SAINT-SAEN5 . Egyptian Dance 34 FRANZ SCHUBERT . March Militaire 2'a JEAN SIBELIUS . Finlandia 26 JOHN PHILIP 5OU5A . El Capitan 32 . High School Cadets 11 PETER ILLYICH TCHAI KOVSKY . Capriccio ltalien 35 . March Slav 33 . 1812 Overture 37 World Music AFRICAN . Kum BahYah 25 AMERICAN . American Patrol 35 . America The Beautiful 36 . Aura Lee 12 . Ezekiel Saw The Wheel "19 . Go Tell Aunt Rhodie 6 . Michael Row The Boat Ashore 26 . On Top Of Old Smokey 21 . SkipTo My Lou 10 . Swing LoW Sweet Chariot 39 . The Streets Of Laredo 28 . Wayfaring Stranger 35 . When The Saints Go Marching In '',3,27 AUSTRALIAN . Botany Bay 26 AUSTRIAN . Austrian Waltz 26 CANADIAN . Alouette 14 . OCanada 32 CARIBBEAN . Banana Boat Song 18 CHINESE . Silver Moon Boat 34 ENGLISH . London Bridge 8 . Scarborough Fair 22 . Sea Chanty 22 FRENCH . Au Claire De La Lune 8 . Frrire Jacques 12 GERMAN . German Folk Song 27 ISRAELI . Hatikva 30 ITALIAN . CarnivalOf Venice 29 JAPANESE . Sakura, Sakura 16 MEXICAN . Chiapanecas 15 . La Bamba 39 . La Cucaracha 36 SCOTTISH . Auld Lang Syne 22 TRADITIONAL HOLIDAY MUSIC . Jingle Bells 9 . Jolly Old 5t. Nick 17 . My Dreydl 9 . Up On A Housetop 17