26-B e Time Signoture ffi = commoTi-. (same as fi) I35. TECHNIQUE TRAX Conducting Practice conducting this four-beat pattern. --l - t o =, '', : Proctice at alldynamic levels. I36. FINTANDIA Andante Jean Sibelius t I I I I I I I I I D I I I I I D I I D D D D I I I I I I I I I t I I I D I I t I I I t D I - @ Breitkopf& Haertel,Wiesbaden - Leipzig 137. # ESSENTIAI CREATIVITY createyourownvariationsbypencitinginadotandaflagtochangetherhythmof anymeasurefrom U ) lto lJ. )l
27-A I38. EASY GORIIIA JUMPS I39. TECHNIGIUE TRAK I4O. MORE TECHNIQUE TRAK IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIeT I4I. GERMAN FOIK SONG Moderato I42. THE SAINTS GO IYIARCHIN'AGAIN Allegro R.S. James Black and Katherine Purvis
27-B I43. LOWIAND GORII1A WAIK Two Meqsure Repeqt I44. SMOOTH SAILING 2 ffi Repeathe previous two measures. On head I45. MORE GORIIIA JUMPS 146. ry!."vERAGE
28-A E o tra - F Scqle 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. See exercise 147 in the keyboard section. - - - 1 ZZZZ ZZZZ t:oaoaaaaa , Subdivide each beat into 4 equal strokes and connect the EXtended ROll I multiple bounces as smoothly as possible. Extended rolls ol are closed rolls which fill all beats with a buzzing sound. - - - - 7 ZZ.ZZ Z Z ZZ ZZZZ t-= eaaa aaaa aaaa - - - z _ 2414 4r14 4441 4117- .-> - ttaOa a O att Oaaa aaatt 147. CONCERT Bb SCATE E o lr| - lChord & Arpeggio I48. IN HARMONY When two or more notes are played together, they form a chord or harmony. See exercise 148 in the keyboard section. S.D. B.D. ,, fL Sus' cYm' , , 149. SCALE AND ARPEGGIO
28-B 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. = ;lUl .Fl ,.ct '.rt '!( I50. THEME FROM "SURPRISE SYMPHONY" Andante - I 5I . ESSENTIAL ETEMENTS GIUIZ American Folk Song - THE STREETS OF TAREDO I I I I I I , I I t I D D I I I I I t D I I D D I I t I I I 1 I I I I I ) I ) I D D t ) ) t E,
29-A P-RFOR CE SFOiusHr | 52. SCHOOL SPIRIT - Bqnd Arrongement March Style E * Measure Number W.T. Purdy Arr. by John Higgins l I I I I I I I I I I I t l t\ Iv^ ) J^ ) tl J^ ) rf E J^ ) J^ ) tl J^ ) J^ ) tl J^ r
| 53. CARNIVAI OF VENICE - Bond Arrongemenf 29-B Julius Benedict Arr. by John Higgins Allegro Wood Block (or Rim Tap) B.D. Triangle Sus. Cym. (with S.D. stick) Tambourine I D I I I I I I I I l I I I I I I t I I t D I I I I t I I I t I I t I t I I l I ) D I ) ) I p*f *ln some printed music, cyntbals appear with the bass drum.
30-A nDAILY WAR.M.I'PS I54. RANGE AND FTEXIBILITY BUILDER WORK-OUTS FOR TONE &TECHNIQUE Johann Sebastian Bach P--=]- Rudiment Triple Porqdiddle I55. TECHNIGIUE TRAX RLRLRL Emphasize the accents. RRLRLR RLRRLRLL R L R RLRRL R LRLL | 56. CHORALE rri. P I +2-a !- t; I llrTrr I ll =l I'i ='i l.l'= Sus. Cym. p -rf e o l-t 2 !t The traditional Hebrew melody"Hatikvah" has 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 tlre opening ceremony and played by members of the Palestine Symphony Orchestrat its conclusion.
157. HATil(VAH lz E I I I Jl E) I f l ,J-J J - Go sus. cym.) ) ) f Tamb. ltJt t , J. J\ *.-.-J IJJJ *ouJ l- l l f 'f I r lf l--l f E 2 t l ) 2 I ryf t - "{-<f t 2 L Tri. rr ,!f JIIJ rl.-_,) I ,f
31 -A I58. RHYTHM RAP I 59. EIGHTH NOTE MARCH Practice "Doubling" and Paradiddtes. R NL R R L R nL R R L R L R RLRLL RRL RRL RLRRL Johann Sebastian Bach 16I. RHYTHM RAP '!t!) ) ) ) l) )J J lJ ,.1'J ,)lJ ,)J r ,[ 1& 2 & 3 & 4 & I a 2 & 3 & 4 & 1& 2 & 3 & 4 & 1& 2 & 3 & 4 &
31-B 162. EIGHTH NOTES OFF THE BEAT Cowbell 163. EIGHTH NOTE SCRAMBTE Hold the open end,of the cowb'ell aw_ay,from you, and play on the front edge of the op-eh end with a stick. 164. ESSENTIAL ETEMENTS GTUIZ lffi
32-A I65. DANCING METODY E o h 6 r ITAmerican 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 EICapitan operetta and march. 166. Et CAPITAN Allegro I I t I I I I t I I t I I I I I I I t I t t I I I t I I I I t I I t I I I I I I I o I c I t John Philip Sousa - I l,_J I I t I I <)l Reproduced by Permission of Eoosey & Hawke5 Music publishers Ltd. "O Canada,"formerly known as the"National Song,"was first performed during 1880 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) 32-B Calixa Lavallee, l'Hon. Judge Routhier and Justice R.S.Weir mf -- 168. ESSENIfAL EIEwIENTS QUIZ - METER ItlANlA countand ctop before ptayins. can you conduct this? ffi,
33-A i rrj.:::., : 169. SNAKE CHARMER Snares off Enhormonics Two notes that are written differently, but sound the same (and played with the same fingering) are called enharmonics. Your note chart on page 5-A shows the enharmonic notes for keyboard percussion instruments. On o piano keyboard,each black key is both o flat and a sharp: Clandgb S*an66b V Y C D E F GIA B C I7O. DARK SHADOWS I I I I I I I I I I I I I I I I I I I ( I I I I I I I I I I I I ( I ( I ( I ( ( ( ( ( ( ( ( I7I. CLOSE ENCOUNTERS .D. 'o | | Tamb. | | | 3J J J I I J :l I I I J ?l hl w 72. MARCH SIAV Largo S.D. (tacet) Snare Drum is tacet (do not play). An optional timpani part appears on page 33-8. Peter lllyich Tchaikovsky ryf Sus. Cym. I I r. llz. ) I ) T-r ,J,I I *f I )>c ) I j t -[-- ).1 )l f f mf
\ l/t/I\ tl t l t l II il t l ll t l tl ll llI' Itl g3o3o= rn |lI Foz at ! I cn cn O:":'. 'l t-? . rnvi g'b 11. r!, E','8 , .{G' 8'= S C o-,= SPfi .!P- :B s xuF .;{ = u-- : o .; {i) L-- 2ra .9 P n ta E E ttl L J;ttl 9fi9 g.sr *r0(.,qJF tt ( g ou- its E,! . = o € ios E,'€ ".t L..:. L : ';tss 'jr, = o, E;€ ' E',9 , g V:'9,J r-r" :.?' p EUI ts 0 6 8:r :Eg 5€s go o. . I E l-I q J * vli r C.Ltr ul q de^ =ss oi t\F co o. ,,Ep
AAAA OJ 'lC qJF -ctr ; * ,. tJ ,:Q rn 'r' C(t' 9 ! o E €ci '=u s+, 3 j P E (tl 'L '6 rE ttl : 5Ua, EET ; e# S;E eug '/i 5 -tr f E ; fi',U'',E , €EE 5.2.n gE:;' H5s *Er H tA iEY o.J gtr.i EE3 .sEv, E,g5 O '/|.?i 6g+ Iz o. o ll| 1- |nI trJI{NF I . I*o En g.E ;o oz
French composer Camille Saint-Sa€'ns (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 io^,ton et Delitah. The opera was written in the same year that Thomas Edison invented the phonograph-1877. Tcrmbourine Shoke I75. EGYPTIAN DANCE. Allegro Snares off Shake the tambourine in your left hand. Stop the shake #^J on the release (tied) note with the fist of your right hand. Camille Saint-SaEns I I l I I I I I I I I I I I I I I l I I I I I I I I I I I ( ( ( ( ( ( I ( ( ( ( I ( ( ( ( ( 175. EGYPTIAN DANCE - TimPoni Tune the larger drum to A and the smaller drum to E. Watch for accidentals. [Jse o light stroke to achieve a dance-like quality in your sound. Allegro LRRL 2 , *f RRLR tr. 2 ,
176. SILVER MOON BOAT 34-B Chinese Folk Song Largo . Fine ryf Claves ,f l7 t t I I I I D D I I I t I D D I D D D I D I I D D t I I I I I I I I I I D I t I I D D I D I 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 testamento 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. I77. THEME FROM SYMPHONY NO. 7 While this part looks eosy,it is difficult because it is slow. Strive for an even consistent sound. Allegro (moderately fast) Ludwig van Beethoven D.C. al Fine S.D. Snares off B.D. p 177. THEME FROM SYMPHONY NO. 7 - Timpqni Tune toEb and N. Allegro (moderately fast) 3 Ludwig van Beethoven E I I t + ,!f p
3s-A Russian composer Peter lllyich Tchaikovsky (18a0-1893) 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 Capriccio ltalien were both written in 1880, the year after Thomas Edison developed the practical electric light bulb. 78. CAPRICCIO ITAUEN Allegro Snares on S.D. I I I I Peter I llyich Tchaikovsky I 178. CAPRICCIO lTAtlEN - Timponi lJse a slow stroke to"pull" the sound out of the timpani. Tune to F and Bb. Allegro Peter lllyich Tchaikovsky 1E-- Rudiment Flqmocue r-R L R r R m A snare drum rudiment. Emphasize the F.W. Meacham a 'h I79. AMERICAN r-R PATROL L R L r-R Allegro ryf r-R L R r R Go on to next Page
3s-B African-American 5pi ritual 80. WAYFARING STRANGER Andante s.D.tttttt I RLRRL D I t D I D I I I t D D I I I I D I I D I I D t I D I I D I D I I I I D D D I I D D I I ) I l8l. ESSENTIAT ETEMENTS QUIZ - RUDIMENT COUNTING CONQUEST r-R nL r-R nL r-R RnL Lr-R RnL L r-R L RnL R Lr_R L u R R R nL R L w. RLRRLRLLR RLRRL r-R n L r-R L r-R R L l R RLRRLRLL
36-A PERFOR.IUIANCE gPOTLIOHT 182. AMERICA THE BEAUTIFUL - Bond Arrongemenf Samuel A.Ward Arr. by John Higgins I I I I I ( ( ( ( ( ( ( ( ( ( tr Andante
PERFORTNANCE SPOTTICHT 182. AMERICA THE BEAUTIFUI - Bond Arrongement Maestoso Cr. Cym. 36-B Samuel A.Ward Arr. by John Higgins f p -f p 'mf , o f I D D D I D t I I I D D t D D D I I I t I I D D D D I D D I D I D t ) ) I ) ) ) ) ) ) ) t D Timponi Roll | 82. AMERICA THE BEAUTIFUI - Bond Arrongement Maestoso Timpani ';t Roll ' Rapidly alternate single strokes as smoothly as possible. For the best sound, play about one third of the'way from the edge to the'center of the head. Samuel A.Ward Arr. by John Higgins -- 17 Andante E t A f - 6 |.l l25l Maestoso '- f
36-C | 83. tA CUCARACHA - Bond Arrongement Latin Rock Snares off > Latin American Folk Song Arr. by John Higgins S.D. tIIItttIItIItItIItIIIIIItIIlIIIICIIIIIIIIIIIII
183. LA CUCARACHA - Bqnd Arrqngement 36-D Latin American Folk Song Arr. by John Higgins Latin Rock Maracas Claves I (Opt. Cowbell) IIIIDIDIIlDDD)D)I))I)t))))))))))))))))))))))))
37 -A PERFORTNANCE SPO TTOHT | 84. THEME FROM | 8 | 2 OVERTURE - Bond Arrongement Allegro I I I Peter lllyich Tchaikovsky. I Arr. by John Higgins Allegro I S.D. I I I I I I I I I I I I I I I I I I I l I I I I I c I I I l I I I I T T t t I I c
3 PERFoRnilANGE'sPffiGHr I t84. THEME FRoM t8t2 ovERTURE - Bond Arrongemenr I Allegro Peter I llyich Tchaikovsky Arr. by John Higgins I cr.-cr*.f x ^ f I ! ^ | 84. THEME FROM | 8 | 2 OVERTURE - Bond Arrongemenf Allegro Timpani Peter | | lyich Tchaikovsky Arr. by John Higgins 4 @f ,. | 2 7 EY @f dampen t I t -!tr. I , f. - *Stop sound with fingertips.
38-A PERFORTNANCE SPOTIIOHT Solo for Percussion Ensemble Performing for an audience is an exciting part of being involved in music. Percussion ensembles provide a unique solo performing opportunity for all members of the percussion section. This percussion ensemble is written for 5 or more players. lt is based on the famous "Can-Can"dance from Jacques Offenbach's operetta Orpheus in the underworld, completed in 1858. Your percussion ensemble can perform for the band oi at other school and community events. | 85. CAN - CAN Allegro Jacques Offenbach Arr. by Kevin Lepper Eory S.D
at I | 85. cAN - cAN I Attegro 38-B Jacques Offenbach Arr. by Kevin Lepper n i+ lv D 8.. "r-. ,!f Choke I lr- ,ft ItIItIIDIIDIIII i tr^i;,".AN - cAN Jacques Offenbach Arr. by Kevin Lepper I rri. D-f ,f IItIDI D ,, To Tambourine tDItDDtDDD
39-A DUETS 5win9 Low, Sweet Chariot and La parhbi" are rtr;itte;i as duetffui woodwinds, brass, and keyboard ierculsion. These percussion parts can accompbhyiwo.orrmgrd.plFyers pl4ying the ddet parts inaiment$viCw Flom Accent (Eighth Notes) 186. SWING LOW SWEET CHARIOT Andante African-American Spiritual .D. uol | | p Sus. Cym. with stick ,,2,) J I I c f c f I o f p D.C. al Fine -_
39-B Hold left stick with butt end facing,out. Place tip of stick about t /3 away from the rim , and knockthe butt end of the stick on the rim. A rim knock is usually written with an J on '- the snare drum space. The regular notes are played on the drum h6ad with the right hand. ,',,.'.,.,,i, 187. LA BAMBA *{ Rim Knock Allegro S.D. Claves f Sus. Cyrn. dome with stick I I I I I D D I r1 Dl rl Dl rlrI I I I I I,- Dl I ll D tl D ll 3tl I t I I 3fi )tl rll 3ll I D l I 3tF rll ill D ll, ru D.C. al Fine D ) l I ) I D
40 RUBANK' RUDIMENilAT STUDIES and accompaniment for Full Band.Scale and Arpeggio Studies | . (Concert Bb or Concert Eb Major) R L R R L R L L L'R R RLLRL RRLRLL LRL RLRRLRLRLL 2. (Concert Bb or Concert Eb Major) 3. (Concert Bb or Concert Eb Major) L R L R L R L L RLRLRLRRLRLRLRLL R L R L R L R R LRLRLRLLRLRLRLRR t I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I R L R R LRLLRLRR LRLRLLRL RLRR LR L L R 4. (Concert Bb or Concert Eb Major) rR nL uR nL rR R nL L r-R R n L R R n L r-R L R n L R nL L r-R R aL L r-R rR L R L r-R L R L L R r-R L R nL r-R L R n L r-R L R aL R
4 1 RUBANK' RUDilnEN!:AI SilUDIES, and accompaniment for Full Band Scale and Ar.peggio Studies | . (Concert F or Concert Ab Major) RRLLRRLLR 2. (Concert F or Concert Ab Major) 3. (Concert F or Concert Ab Major) R L R L R L R L R L t I D I I I l I t t t l I I I D D D I l ) ) ) I I ) I ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) I R LRLRLRLL 4. (Concert F or Concert Ab Major) uR RnL LI.R RnL L RRL RRL RRL RRL R LRLRL R LLRRL R LLRRL R LLR LLR LLR RLRLRLRRL R L RLRLRRL RLRLRRL RRL R LLRRL R L RLRLL RLRRL R L L L R
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43 ffinrHYTHfn siluDlEg 37 LI 41 Lt 45 L-.. t 49 IIIDfIIIIIDDIDDIDDIIDIDDIDIIIDtIIIDDIIIIIDDIII 53 Lt 57 ) t-- t 61 ))T 65 ) t--r t 69
44 CREAilINO TUIUSIC I. ODE TO JOY composition is the art of wr.iting 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'euestion" 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 3.Question 2.Answer 4.Answer l.Question 2. Gl. AND A. Writeyourown"onswer"phrosesinthis melody. l.Question 4.Answer 3. PHRASE BUIIDERS Write 4 different phrases using the rhythms below eoch staff. I T I I I I I I l I I I I I I I I I I I ( ( ( I I ( ( ( ( I I l ( l( ' ( ( ( ( I I I n) n rTrl) rTn 4. YOU NAME IT: Pick phrase A, B, C, or D from above, and write it as the "Question" for phraseS1 and 3 below. Then write 2 different"Answers" for phrases 2 and 4. 2.Answer 4.Answer lmprovisqtion 5. INSTANT METODY lmprovisation is the art of freely creating your ol\tn mefody osyou play, Use these notes to play your own melody (Line A),to go with the accompaniment (Line B). A B Z il A
srAR AFlllEvER .-,:' -ii,r.t .. ;, 'il|:rY: ' 7 : .:t'" .. , 'lr''-; i ",!l ii"'.. .l',r'i- R i,: D I I D I I t I I I l I I D I D l D I D I D t I D I I D I I I I I I I .l I I I I I I I I I I I ou can mark your progress through the book on this page. Fill in the stars as instructed by your band director. 28 27 24 23 ESSENTIAL rs 22 20 21 1 5 1. Page 2-3,The Basics 2. Page 5, EE Quiz, No. 13 3. Page 6, EE Quiz, No. 19 4. Page 7 ,EE Quiz, No. 26 5. Page B, EE Quiz, No.32 6. Page 10, EE Quiz, No.45 7. Page 12-13, Performance Spotlight 8. Page 14,EE Quiz, No.65 9. Page 15, Essential Creativity, No.72 10. Page 17,EE Quiz, No. 84 1 1. Page 17, Essential Creativity, No. 85 12. Page 19, EE Quiz, No.98 13. Page ?0, Essential Creativity, No. 104 14. Page 21,No.109 -,i'' ...,/ 15. Page 22,EE Quiz, No. 1 17 '16. Pugq 23,Performance Spotlight 17. ' Page 24,EE Quiz, No. 125 18. Page 26, Essential Creativity, No. 1 37 19. Page 28, No. '149 20. Page 28, EE Quiz, No. 15'l 21. Page 2g,Performance Spotlight 22. Page 3i, EE Quiz, No. 164 23. Page 32,EE Quiz, No. 168 24. Page33,No.174 25. Page 35, EE Quiz, No. 'lB1 26. Page 36, Performance Spotlight 27. Page 3T,Performance Spotlight 28. Page 38, Performance Spotlight NAIi'IE i..,,'i : t', 1t -r" ;1, 10 1 8 1 1 1 7 1 4 45 TUIUSTC I AN ESSENTIAL ELEMENT OF LIFE
46-A SNARE DRUIh INTERNATIONAT DRUM RUDIMENTS All rudiments should be practiced: open (slow) to close (fast) and/or at an even moderate march tempo. Inslrumenl Gcrre Reminders Snare drums occasionally need tuning. Ask your teacher to help you tighten each tension rod equally using a drum key. . Be careful not to over-tighten the head. lt will break if the tension is too tight. . Loosen the snare strainer at the end of each rehearsal. . Cover all percussion instruments when not in use. . Put sticks away in a storage area. Keep the percussion section neat! . Sticks are the only things which should be placed on the snare drum. NEVER put or allow others to put objects on any percussion instrument. Instrument courtesy of Yomaha Corporation of America, Band and Orchestral Division I. ROLL RUDIMENTS A. SINGTE STROKE RUDIMENTS l. Sinqle Stroke Roli - - .aaaaaaa 6 3. Single Stroke Seven ffiT= | aaaaaaa 2. Single Sfroke Four RLRr-Rr-RL 3 3 - - ))J) J))) RLRL RLRL LRLR LRLR B. MUITIPIE BOUNCE ROtt RUDIMENTS ))))))tt ))))))ti RRBRRRRR LLLLLLLL tnternationat o,r^ r"o, r^:, r;:,;T{rXf percussi on Arts Society I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I RLRLRLR LRLRLRL 3333 5. Trrple Srrore Rolt - - ' '\v" .171 J77 J77.177 4. Multiple Bounce Roll + RRRLLL RRRLLL
I I c. DouBtE srRoKE opEN RorL RUDTMENTs I ; 'n#i:ii-n" ! _ "'lilon *ou !_fr, !_fr, I R a L L R B L L n-n L l-i h I I --. i > t > ; t' !lfn" ""u fr r12' Eleven ;- -j ii -r I ^ -l l--'l '-' ii'r'" n"rr !-il' {-fr ' I LR L L R ) ; '' !lln"""u -J=- -rfi "'ll5nTi.u I n I n I F ',-l i ''-[ ;--* o'-'-l I ) i ''!ir",l*.u i- i- 'o'!',5i1".u i I-i l- D E -; E-'-l F-'-l D D 3'o'|'::L*"u !_i i_i "'ff;"if;fii, t R i_i !_i l D D t I rr. DTDDLE RuDttvlENTs 46-B 3 sNARE DRUtil,t$.UBNATr0NAr. DR{rrl RUDUUIENTS D I t 16. single =: =:l= I Porodiddle tJJ)))t) l8.Triple =#'.,.5g =p:g...gq Porodiddle )))) )))) )))) )))) RLRRLRLL RLRLRLRRLRLRLRLL I I I .. =:=: I Porodiddle ))JJ)J)))),)) I RLRLRR LRLRLL I D t I I D D D | 9. Single Porodiddle-Diddle - - iffi] iffi] aaaaaa acoaao RLRRLL RLRRLL LRLLRR LRLLRR
47 SNARE DRUII'I TNTERNAflONAT DRUTI RUDIilTENTS III. FLAM RUDIMENTS 2O. Flom 21 . Flom Accent 22. Flom Top 23. Flqmqcue 24. Flom Porodiddle 32. Single Drog Top 33. Double Drog Top 34. Lesson 25 35. Single Drogodiddle IV. DRAG RUDIIVIENTS -t I ..4 a ^Yr- R i-] i-''i -t-t t-t-t I ..O ..O a .-O..O a -/ \/' I.I.R LLB L NNL RRL R At ol or) o O JR JL i-] hl | | Al | | ttJOOtt)aO JRLRJLRL - - - At tAt I At tAt I oOOtOaoOOoOa ;R nJl r- Jn R;L L - - xl | | | x l JU"'JU -RLRr-Jn 36. Drog Porodiddle #l 37. Drog Porcdiddle #2 39. Double Rofomqcue 4O. Triple Rqlqmqcue 38.5ingle Er # ,= # Rqlcrmcrcue ))a aa a ))aa J a lr-R L R L nnL R L R 3O. Flom Drog - - ri ff i ri I-'] i tJ O O O oJ O O O ; LL R JL R R L - - l=i-i-]-] r=i-1-i-1 tttttttttttttl a ..a a a a a ..ta O O O R r-r-R L R R L RRL R L L - - - | - | - --l r - | - | -t -tt | | | nt -tt | | O ..O ..O tt O a a ..ta ..O O a O v R r-r-R rlR L R R L RRL nnL R L L 3 > I I I I I I t I I I I I I I I I I I I I I I t I I T @ G l l t I I I t I I I l I I I I I I e 25. Single Flomed Mill 26. Flom Porodiddle-Diddle 27. Polofloflo 28. Siwss Army Triplet 29. lnverted Flom Top - - - - Al I I I rl | | | oO a a a o) O O O JnRLRJLLRL - - - - Al | | | | lrl ll | | | tOOaaOO tOOaaaO .-RLRRLLJI-NI-T.RR - - At I ttt At I tAl oOaOoOoOaOoO ;R L RJL Jn L R;L >j > 3 - - It I tAt | | oO O C oO O O JRRLJnRL nL L R RL L R - - - Al I rl I rl lrl I oJOot)Oot)OoOO JnlJlRJnr-JlR 31 . Drog I - l aata l-a R I - l aaa nnL -l I ada a LLR L -- I t-ttl ..4 a a r-r-R L R nnL R L -- I -t I I ..4 a a RRL R L LLR L R J 1 3 > - - - - -t-ttttr-t-tttl ..a -.OOtt .v tt .-ta ..aaO J \v/ rlR IIRLR L nnL nnLRL R J 2 - - - - + ltt + ttl ooaaaaao RBL R R- LLR L L - - - - :-FlrEr-r-l-l-lr -t-tr-tttt r-t-t-tttl ..ta ..(a -.e O O a cot) oot) ..O O a O v \\r/ .-/ t-t-R lr-R lr-R L R L RRL nnL naL R L R - - Al | | | rl | | | ot)OOOtt)aOa ;RLRRJLRLL
t I D D I D I t D I D I t I D t I I D I D D I I I I D t D I I I D D D I I I I D I I D D D I 48-A flREFERENGE INDEx Definitions (pg.) c Accent 15 Accidental 16 Allegro 11 Andante 1l Arpeggio 28 Bass Clef 5 (Bass clef inst.) Bar Lines 3 Beat 4 Bf ues 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 (Bross &WW's) Enharmonics 33 Fermata 8 l st & 2nd Endings 16 Flat 5 Forte ("f) 9 Half Note 6 Half-step 33 Harmony 8 lnterval 24 Key Signature 7 Largo 23 Ledger Lines 3 Measure 3 Mezzo Forte (tl:f) 9 Moderato 11 Multiple Measure Rest 20 Music Staff 3 Natural Sign 5 Notes 4 Phrase 20 Piano (z) 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 Simile 2O (Perc.), 7 (Kybd.Perc.) Slur 1 9 Soli 29 Sofo 23,38 Tempo 11 Theme And Variations 18 Tie 14 Time Signature 5 Treble Clef 5 (Treble clef inst.) Trio 25 Whole Note 7 Composers JOHANN SEBASTIAN BACH . Chorale (from Cantata 147) 18 . Chorale 30 . Minuet 20 . Minuet 31 LUDWIG VAN BEETHOVEN . Ode To Joy (from Sym. No.9) 13 . Theme From Symphony No.7 34 JOHANNES BRAHMS . Theme From Sym. No.1 38 (Bross & 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 l0 CAMILLE SAINT-SAENS . Egyptian Dance 34 FRANZ SCHUBERT . March Militaire 2'a JEAN SIBELIUS . Finlandia 26 JOHN PHILIP SOUSA . ElCapitan 32 . High SchoolCadets 11 PETER I LLYICH 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 . Skip To My Lou 10 ' Swing Low, Sweet Chariot 39 . The Streets Of Laredo 28 . Wayfaring Stranger 35 . When The Saints Go Marching ln 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 HOLI DAY MUSIC . Jingle Bells 9 . Jolly Old 5t. Nick 17 . My Dreydl 9 . Up On A Housetop 17
ffi:.nririnEncl INDEX Definitions (pg.) Bass Drum 5 Claves 15 Cfosed Roll 22,25 Cowbell 3l Crash Cymbals 10 Double Paradiddle 15 Eighth Note Two Sixteenths 18 Extended Roll 28 Flam 8 Flam Accent 15,39 Flamacue 35 Flam Tap 1 I Maracas 15 Muftiple Bounce 7,'10 Left Hand Flam 8 Let Ring 12 One Measure Repeat 21 Paradiddle 9 Right Hand Flam 8 Rim Knock 39 Rim Shot l5 Sixteenth Notes 17 Sfeigh Bells '17 Solo 1 1,23,38 Suspended Cymbal 10 Suspended Cymbal Roll 11 Sus. Cym.with Sticks 13 Tambourine 11 Tambourine Shake 34 Timpani 33 Timpani Roll 36 Triangle 8,12 Triple Paradiddle 30 Two Measure Repeat 27 Wood Block 10 IIItIIIIttItItIIItItIIIIIItIIItattIIItItItIltI