_ CONDUCTOR BOOK 2 ESSENTIAL NTS COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM ¢. RHODES DON BIERSCHENK Perousion constant and edie WILL RAPP Dear Music Educator, ‘Welcome to Essential Elements 2000, Book 2. The following pages offer an ongoing sequential learning curriculum, PLUS a library of additional benefits certain to offer every student a postive pathway to musical excellence. In addition to the many popular features from Essential Elements, Book 7, this second book offers new exciting opportunities for teachers. The Individual Study section features etudes which explore useful techniques that are unique to each instrument. ‘These are followed by a special solo with written piano accompaniment from the Rubank® library of solos. And, on the Play-Along CD Disc 1 (included in every student book, these etudes and solos are demonstrated by a professional soloist with classical piano accompaniments. See the section USING ESSENTIAL ELEMENTS 2000 for more details on the features of this book. Throughout our series, there is a reinforcement of the National Standards for Arts Education including music theory, history, improvisation, and composition. Our team of authors has carefully designed every aspect of Essential Elements 2000 to support the important academic value of music as 2 core subject in our schools. We are delighted that you and your students have chosen Essential Elements 2000 as your musical companion. Please accept our best wishes as you STRIKE UP THE BAND! Sincerely, Tim Lautzenheiser MUSIC, an essential element of life. I5@N 0-634-01238-x Copyright © 2000 by HAL LEONARD CORPORATION Intemational Copyright Secured All RightsReserved HAL*®LEONARD® CORPORATIONTABLE OF CONTENTS Student Page Topic/Title Conductor Page Sequence of Essential Elements Chart. 08 Using Essential Elements 2000, 10-1 Play Along CD Dis 1, Pereussion 10 Individual Study Section. 10 Pre Planned Concert 10 Performance Spotights Rnythm Reps 10 Daly Warmups Rubank* Studies, 1" EE Rhythm Studies 1" ‘Music Theory. History, and Cross-Curicular Actives " Creativity, Assessment, Additional Resources " 2 Book 1 Review {Technique Tax 2 2 Shoo Fy B [Link] Lullaby 7 4:shepherds Hey 15 [Link] Crawdad Song 1617 3 Book 1 Review [Link]/God Save The Queen 18 [Link] Of The Green. 9 8 Roses From The South 20-21 [Link] Through The Park 2 10-Trumpet Voluntary ~ Duet. 2 ‘ Book 1 Re [Link]-Zone, 2025 [Link] Boy 26 13 Technique Trax 7 14. Salsa Siesta Duet 28-30 5 [Link] Lightly. 31 16 Smooth Move ey 17. shining Gears 33 1 Talis Canon (Round) 34-35 19, Sightreading Challenge 36-37 6 Daily Warm-Ups [Link] Buller 38 21 Font Stay 38 22 Techrigue Trax 39 [Link] oat [Link]’s Clock 2243 [Link] Wom 045 7 26. Alma Mater a6 27-Loch Lomond a7 28. Molly Malone 43 [Link] And Fall» 49 [Link] Comparison 30 5. Sightteading Challenge 50 8 [Link] Rap. 31 SBA Cut Above 31 34-Two-Four Yankee Doodle 32 [Link] Yankee Doodle 32 [Link] 33 B7-TheVictos 3435 38 Essential Creativity 36 ° 39.A-Roving 37 40, Rhythm Rap, 7 [Link]. 38 ‘#[Link] ae 36-59 4. Essemal lements Gul ~ Yue A Grand Old Fag. 60-61 10 44, Key Moment oe 45. The Mintel Bo. a [Link] Cal 4 [Link] March 5 48. Winning Steak voveon 66-57 8 49,Sighteading Challenge" ry 8 “ 6 16 ” ” 20 n a 2a 50, Rhythm Rap. 5: Soteenth Note Fanfare [Link] Along. 53, Back And Forth ~ Dust '[Link]’ Round The Mountain Variations 55. Essential Elements Quiz. Performance Spotlight - Band Arrangements ‘[Link]-Up Chorale 57. The Thunderer. 58:Hil And Gully Rider [Link], mance Spotlight -Band Arrangements (0Las Mahanitas " 61. Rondeau {82 Rockcom, [Link] Rap, 14, Siteanth Varlaions. 65, Sea chantey. 66. American Fantare {57 Seale Study 68. Gil Bally, 6,Rhythm Rap, oAnyehm Etude. 71. Battle Stations. ‘[Link] Dance 73. Big Rock Candy Mountain. 74 Essential Elements Qu 75,Simple Song Duet [Link] Dance. 7H Technique Trax [Link] Galway Piper 73. Manhattan Beach March 80. Sightreading Challenge [Link] Rap 82. Marching Along) 83, Fanfae For Band — Ta 84,0 Tannentaum, [Link] 186. Good King Wenceslas. Dally Warm-Ups 47. Tone Buller ‘8, Flexibility Study £89. Technique Trax. '[Link]...... ‘9. Toreador Song (From CARMEN). [Link] Cumparsita, 93,The Yellow Rose Of Texas 94. Seale Study 95, Advance Australia Fair 16. Essential Creativity 97, American Patrol 98. ia (From MARRIAGE OF FIGARO} 99,The Stars And Stripes Forever. 100 sightreading Challenge 101. Rhythm Rap, 102 Lazy Day 103-Row Your Boat 104 Joly Good Fellow 105, Chanson 106. Essential Elements Quiz~ When Johnny Comes Marching tome 107. Chromatic Seale 308-Technique Tax 103, Habafera (From CARMEN) 110. chromatic Crescendo. 111. Turkish March (From THE RUINS OF ATHENS) 12 The Overlander. 113 Staccato Study 114:Yankee Doodle Dandy [Link] Challenge. 6 69 70 n Ba 7s 76-77 78-79 30-81 92-83 24-85 96-87 110 mm m2 ns ens nen7 ne9 1120-121 [aa-aas “124 2125 126-127, 128-129 130 131 131 132 133 133 730-135 136-137 138 139 140 a va 13 146145, 1464 2 2 28 2 30 a 2 33 34 35 116. Bhychi Rep Li7-Tivee To Get Ready 118 Triplet Study 7 119. March iFrom THE NUTCRACKER) ~ Duet 120, Essential Elements Quiz ~ Theme From FAUST 121. Seale Study 122. Over The River nd Through The Woods 123. Rhythm Rap [Link] The Move 125. Higher Ground... 126. Essential Elements Quiz 127-The Marines Hymn 128.0. Maren [Link]-Cen 130-Tarantella 131. Emperor Waltz [Link] Dance - Duet 133. Essential Elements Quiz~ ish Grenadiers 134,Nassau Bound 135, Unfinished Symphony Theme 136 Rhythm study 137, Country Gardens 138. Joshua, [Link] To The Mackingbied 140. Anchors Aweigh... 141, Greensleeves... \[Link] Long Climb [Link] lus Galle Of Scotiand, 1144, Natural Minor Seale, 145. Finale From New Werld Symphony 146, Harmonie Minor Seale 147. Hungarian Dance No.5 148, Pomp And Circumstance Performance Spotlight -Band Arrangements [Link] Gifts. ae 150, Semper Fidelis Performance Spotlight -Band Arrangements 151. Danny Hoy 152 Take Me Out To The Bal Game, Performance Spottight -Band Arrangement 153 Serengeti (African Rhapsody). Rubank? studies "154. Chorale 155. Chorale, 156, Chorale 187. Chorale 158. Chorale 159, Key Of Concert Bb 160. Rubank® studies 161. 12, 163. Key OF Concert. 164 : 165, 168. a 167. Key OF Concert 168, 168 170, Rubank® studies 171, Key OF Concert Ab m 15, 14, 175 Key OF Concert €. 76. m7, 78 17 Tae aa-t49 150-151 182 153 13155 156 156 157 158-159 160-161 162-163, 164 165 16-167 168-169, 0171 2-173 174 vs 176-177 178-179 190-181 132-183 134-185 186 366-187 208-213 214-219 220-231 232 233 24 235 236 237 238 239 239 240 2a 2a2 2a2 243 244 245 246 2a7 249 249 250 251 252 2537 3a 4243 46-47 Rubanie Studies [Link] OF Concert G Minor. 180, 181. Key OF Concert € Minos 182 183. Key OF Concert D Minar 184, 185, Chromatic 188, Individual Study Fite ‘Oboe Bassoon Clarinet ‘No Clarinet. Bass Clarinet Alto Saxophone Tenor Saxophone. Bartone Saxophone “Trumpet F Hom: “Trombone Baritone BC Baritone TC Tuba, Elecite Bass Percussion : Keyboard Percussion. Rhythm Studies Creating Music. Essential Elements Star Ac Fingering Charts Flute Oboe Bassoon, Chriner Ao Clarinet Bass Clarinet Alto Saxophone Tenot Saxophone Baritone Saxophone Trumpet FHom Trombone, Baritone Bi Baritone TC. Tuba Electric dass Snare Drum International Deum Rudirnents| Keyboard Percussion Instruments Reference index. : Reference Index for Percussion. Percussion Teaching Tips resis. 254 255 256 257 258 255 260 261 292-293 294-295 296-297 298-299 300-207 302-303 304-305 306-307 308-309 310-311 312.313 310315, 316-317 318-319 320-321 322-323 324-327 328-329 320 33 332-350 351Breer fo Student Pave eee e Aiyths Terme 7 — le reptins | sons | seas | ann | res) ute iis a 7 ¢ ery E OF ‘renee d1d 10 u TST g fon 2 | aa feayieanaESSENTIAL ELEMENTS 4 5 [iw | wie 19 20 2 2 | a | a in |e a e105 rz 6 & cane [Seen oe omer Am Susie | fee nf = s $ oes nSEQUENCE OF 25 2% | 27 LA nese tae 26 29 30 a od sans x aman Petite ae [mean | mene 2 as | os teem | Hea 35 36ESSENTIAL ELEMENTS ee [aon | em [aan | fooan | am | me | we [a | sm | man Secent gett | a7 28 wv | ofa] ale] « [a | aw | o Riots Theory Bou ron fos aint se | Se seme | Tame | "ae Florores ‘oar sence] | hte Wy pee10 USING ESSENTIAL ELEMENTS 2000 ESSENTIAL ELEMENTS 2000 is a comprehensive method for beginning band musicians and can be used with full band, like-instrument classes, or individuals, It is designed with fail-safe options for teachers to customize the learning program to meet their changing needs. The Conductor book includes all the music and text from the student books, plus time-saving EE Teaching Tips throughout the score! As in the student books, the introduction of a new concept is always highlighted by a color box. PLAY-ALONG CD DISC 1 Every student receives a play-along CD in their book which covers the first $5 exercises, plus the Individual Study section on student pages 38-417. Melodies are demonstrated by a small band ensemble in the first 55 exercises. However, these CDs are unique for each instrument; the Individual Study exercises and solos are recorded by a professional soloist playing each specific instrument! For classroom use, the Conductor book includes a play- along CD featuring the first 55 exercises. Each trackis played twice—the second time is the accompaniment track alone. There is a one measure count-off before each track Also available: Play-Along CD Set, Disc 2 & 3 (ex. 56 to the end), and Play-Along CD Set, Disc 2 & 3 For Percussion, PERCUSSION ‘The 96-page Percussion book takes a complete percussion approach. Each regular student page is expanded to a 2-page spread which includes the optional auxiliary percussion parts and clear playing instructions for all instruments. The next 48 pages are the complete Keyboard Percussion parts. The student books include 2 Play-Along CDs; one features all the percus- sion including drums and auxiliaries, while the other demonstrates all keyboard parts. On pages 322-350, look for special EE Teaching Tips which relate solely to Percussion, INDIVIDUAL STUDY SECTION There are specially designed individual instrument studies, con pages 38-41 of each student book. The solo etudes explore useful techniques that are commonly associated with each instrument such as alternate fingerings, lip slurs, etc. These etudes are followed by a carefully chosen solo with written piano accompaniment from the long-respected Rubank® library of solos. The etudes and solos also appear con the Play-Along CD Disc 1 in each student book,and feature a professional soloist accompanied by a classical pianist. PRE-PLANNED CONCERT ESSENTIAL ELEMENTS 2000 includes a complete pre-planned concert program on student pages 12-13. The material is, flexible in design, featuring a warm-up chorale, 2 march, pieces to feature the woodwind, brass and percussion sections, an encore-style piece, etc. The concert for parents could also include highlights of the music learned earlier in the year,as well as demonstrations of the instrument families. t can be successfully combined with Book 1's pre-planned concert material, featuring your beginning students as well. ‘The music on these 2 pages can also be used as a culmi- nation activity to test or review all previously learned skills, PERFORMANCE SPOTLIGHTS In addition to the pre-planned concert, there are 5 more fall band arrangements on student pages 31-33. Plus, the duets and trio can be used as ensembles or played by the full band. Performances for relatives, community ‘organizations, or for the school itself are highly encouraged Refer to the Individual Study section for a solo with written piano accompaniment for each instrument. These solos are specially chosen for individual instruments from, the time-tested Rubank® library. RHYTHM RAPS New rhythms are presented as clapping exercises in the innovative Rhythm Rap format. After each Rhythm Rap, the identical rhythms are played on simple pitches in the next exercise. Finally, they appear in an appropriate melodic setting in the subsequent (3rd) exercise.DAILY WARM-UPS You can establish good practice habits with this systematic approach for developing tone and technique. Use the Daily Warm-Ups on student page 18, replacing them with the second set of warm-ups when the class reaches page 30. In, addition to tone and technique exercises, each includes a Bach chorale with simple harmony. RUBANK® STUDIES Developed from classic Rubank etudes, these supplemental exercises on student pages 34-37 provide many different teaching opportunities. They are excellent for expanding Individual technical skills, and may be introduced as extra challenges when appropriate for individual players or sections. These pages can also be used as full band warm-ups and technique builders. Included are warm-up chorales, scales and etudes in 5 major keys,scales and etudes in 3 minor keys,and 2 chromatic scales. Additional performance skill, can be reinforced by varying the tempo, dynamics, etc. EE RHYTHM STUDIES ‘These supplementary rhythm exercises appear on student pages 42-43. The rhythms advance sequentially, and can be Used in any length of measure groupings. Simply choose the beginning and ending measure, plus any repetition desired Start by using a single pitch throughout the measure(s) selected. Then change pitch only at the beginning of measures, By specifying different times to change pitch, the rhythms can be very challenging. MUSIC THEORY, HISTORY, AND CROSS-CURRICULAR ACTIVITIES All the necessary materials to relate music to history, world cultures or other subjects are woven into the learning program—right in the student books. These Theory and History features are highlighted by color boxes and appear throughout the Book. ‘As a result, teachers can efficiently meet and exceed the National Standards for Arts Education, while still having the time to focus on music performance skills. CREATIVITY Essential Creativity exercises appear in several places (culm nating on student page 44). They are designed to stimulate imaginations and to foster a creative attitude toward music. By completing the activities, students are guided through basic concepts about Composition and Improvisation, ASSESSMENT On student page 45, there is @ complete list of 28 Star, Achiever exercises. These include the Essential Elements Quiz and Creativity exercises, Sightreading Challenges, Performance Spotlights and additional lines which encom- pass all the notes and skills used in Book [Link] the students! page, they can fill in a star for each item which they pass Teachers can use this basic checklist to keep track of student performance assessments. In addition, there is a detailed list of items to evaluate (EE QUIZ ASSESSMENTS) above each quiz in the Conductor score. Each of these indicate all the new material and skills taught since the previous quiz. Additional Resources Available... PLAY-ALONG CD SET DISC 2 & 3 This set of play-along tracks includes exercise 56 through the end of Book 2. It features the melody demonstrated by a small band ensemble, followed by the accompaniment- only for each exercise. For use by all wind instruments. Also available: Play-Along CD Set, Disc 2 & 3 For Percussion. TEACHER RESOURCE KIT This valuable resource features assessment and enrich- ment materials plus @ convenient set of lesson plans. A, CD-ROM (Windows/Mac) with editable word processing files is also included. PIANO ACCOMPANIMENT BOOK Easy piano accompaniments for all the exercises. CORRELATED MATERIALS ‘The ESSENTIAL ELEMENTS BAND SERIES includes original and popular music, arranged for younger bands. Each publication is correlated to one of five specific"levels" within Books 1 and 2 (see the Sequence Of Essential Elements chart in the Conductor book for details). Contact your music dealer or the publisher for information on the latest releases in this series.2 Z REVIEW prea pans mak er eo 4 4 , ‘Key of Concert B> = eS. Whole Hale Gost | Halths ‘REPEAT SIGN: TE SLUR TEMPO MARKINGS vomle er ler st rests| = - Popyey ee AL % PERCUSSION REVIEW aii Gai ene oi eet s-camboume cowed DYNAMICS mummpie sounce J cioseprou J~d brnanies — —— exrenpeprou =f (ONE MEASURE REPEAT Flam Have students identify the clef key signature BB TEACHING TIP ine signature repet sgn and breath mark 1, TECHNIQUE TRAX& TEACHING TIP 2. SHOO FLY f i HE cu kere, if fo HE ere Allegro Review the 2/4 time signature, tied notes, quarter rest,and the definition of Allegro. B American Falk Song4 ‘Student 600k P a feview eighth notes, lured notes and the definition of Moderato Bi VEACHING TIP tise the students count and finger this exercise on ther instruments before paying. 3. THAILAND LULLABY ‘Thai Folk Song Moderato. © 2 2 2 f“ Keep fingers in good postion over the Keys or valves to play the slurred notes B TEACHING TIP Srniy and clean, The tombone sige should move auichy with fast at 4, SHEPHERD'S HEY Moderato @ 2 2 English Folk Song. B TEACHING TIP review haifrests and whole rests. 5. THE CRAWDAD SONG American Folk Song ‘Alisgre © 2 2 e F iter © Yea Seton a i NX © ° ® Boh segue tgengSome Iie Fei FN if Ba ai Kemie ® 7i6 EEE) ZB REVIEW KEY SIGNATURES TIME SIGNATURES Concert D Roe Key of Concert Key of Concert F Dotted | Dotted Quarter & Roll Ist & 2nd ENDINGS DYNAMICS PICK-UP. TEMPO. HOt | PEGA |omencfancony| RA AMHENDINGE DIMMNMCS RESP tes ee ee ies FA % PERCUSSION REVIEW MTL MEASURE REST AccENT CRASH CYMBAL TIMPANI TIMPANIROLL 2 2 S —— aospsou £] manos auton mus anne This exercise includes a review of [J. <)],3/4 time, Andante, and the piano dynamic marking. Count and finger this exercise before playing, BG TEACHING TIP 6, AMERICA/GOD SAVE THE QUEEN pati a 5 2g Basedona Tational Anthem ’ wie fe eke Werf epeet & TEACHING TIP Review pick-up notes and common time. 7. WEARING OF THE GREEN a ° . Irish Folk Song oe ef oang Boe i2 B TEACHING TIP Discuss the first and second endings. Note the changing dynamics. ROSES FROM THE SOUTH Johann Strauss, Je i at HE oer Pers time. Biri The Te2 H af it fee Teper2 B TEACHING TIP Make sure all students understand pick up nores ane repeats. 9. CRUISIN’ THROUGH THE PARK j Moderato Ea i HE. Remind players to check the key signature. B TEACHING TIP fore assigning the dt parts pay each one individually. ‘Oboe Use forked fingering forall Fs. 10. TRUMPET VOLUNTARY — Duet Jeremiah Clarke 4 Maestoso Pre aes | ee f vowing Bene Tees24 vA & REVIEW So [MULTIPLE MEASURE REST ACCENT FERMATA D.C. ol 2 be = 2 a me 2 3 EEgunte | alti Note ao nmasmones #oebonpie te dy ae as BZ Z@ PERCUSSION REVIEW RUDIMENT Parade Double Parade ia tay ae a vonrwamas EEE ninsuot Ee coum puanaca ani" /apbo taben une Roviewed in this exercise are enharmonics eighth ress, B TEACHING TIP utiptemeosue rests and Deal Fine 11. CHROMA-ZONE ie? <7 e Se25 ce . = zz2 2 Decal Fine. Z TEACHING TIP the[2 4. ]fioureis usedcreating a fel of syncopation. (Oboe Continue using forked F fingering when moving From BtoB 12, BILLY BOY ‘Moderato ‘American Folk Song tEEE tk ee Clap the rhythm ofthis exercise before playing emphasizing the accents, B TEACHING TIP Sra clacement ofthe eighth rests 13. TECHNIQUE TRAX Allegro z Ean t Shoe. iw Play each line separately before assigning parts for a duet. BB TEACHING TIP asCtudentstolsten forthe dynamics in ths exercise, 14. SALSA SIESTA - Duet 4 Moderato ae me t cin Beret HE ort Fenton ve Ea _? 7 ecru we meas,fF roe HE fF Bethe Te 297 owe Diatet HE ee heronck Staccato notes are played lahtly and with separation, ate 4 ‘They are marked witha dot above or below the note, B TEACHING TIP be certain thatthe staccato notes are played lightly. 15. TREADING LIGHTLY 72 P coon sen eS upeney oot Percussion Temple Blocks TempleBlods {or Chinese Wood Blocks) include five different size blocks usually mounted on a stand. 1 Rollow sounding blocks of different pitches create a distinctive and effective sound ina percussion Section. For the best sound, use a soft to medium rubber mallet and play toward the edge ofthe top ‘surface near the side with the open shit. 31i em eT Tenuts i ‘Tenuto notes are played smoothly and connected, holding each note until the next is played. They are marked with a straight line above or below the note. Encourage students to keep the ar stream moving so B TEACHING TIP that there's no separation between notes marked tenuto. 16. SMOOTH MOVE Moderato a i HE oer ters. i ‘A curved line which connects notes of different itch. Is achieved by plucking the first note ofa slurred passage with the right hand, then pressing down the second note with the left hand. Pull off Is achieved by plucking the first note ofa slurred passage with the ight hand, ‘hen releasing the first note with the left hand enabling the second note toring.33 lines A ‘On the pitch concert 8, have students play four notes staccato and YB TEACHING TIP tr notes lagato to establish the const between the two sys 2B Clarinet Practice long tones on all new notes. 17, SHIFTING GEARS - New Note Moderato A »24 4 English composer Thomas Talis (1508-1585) served as a royal court composer for Kings Henry Vill and Edward V1, ‘and Queens Mary and Elizabeth. During Talis lifetime, the artist Michaelangelo painted the Sistine Chapel. ‘Canons (one oF more parts imitating the first part) were used in many forms by 16th century composers. A Round is 2 strict (or exact) canon which can be repeated any numberof times without stopping. Play Talis Canon as a 4-part round. Play through the canon first as one group, stressing its style and dynamics, before Bi TEACHING TIP ning into four parts Note the repeats in percussion to perform as. rouné) 18. TALLIS CANON (Round) Moderato Thomas Talis o v we 7 ad HE eee Barc, Brevicbow Percussion If your band does not perform this exercise asa round, skip the 1st endling and the repeat in your music.35 EEE?36 # i i ay eerie aout _/ Sightreading means playing a musical piece for the fst time. The key to sightreadig success is to know what to look for before you play. Use the word S-T-A-R-S to remind yourself what 10 look for, and eventually your band will become sightreading STARS! 5S — Sharps or flats in the key signature T — Time signature and tempo markings \ ‘A — Accidentals not found in the key signature | R — Rhythms, silently counting the more difficult nates and rests “S$ = Signs. including dynamics ertculations repeats and endings J Stress the importance of sightreading and uisifig @ logical approach (S-T-A-R-S). B TEACHING TIP Consicer hose musical essentials you ply to mprove the chance for success — SIGHTREADING CHALLENGEpea ie38 Stude Book Pa ZB DAILY WARM-UPS ss soncours ron ronee recunsove Exercises 20-23: These warm-up exercises are designed to help students develop tone, & TEACHING TIP (So and etch lseing ll They shodtoe wed Gly ual sent bok foe 18 20. TONE BUILDER a A a # A o if i i ‘sg nom 21. FLEXIBILITY STUDY22. TECHNIQUE TRAX Ea 393. CHORALE Johann Sebastian Bach at © Asa. reas T fi i ——wv vwEOE ntsc aya Z TEACHING TIP review staccato and tenuto articulations before playing this exercise. 24, GRANDFATHER’S CLOCK Allegro u HE oR PbS res ov uae oe Henry [Link]if o oe eS etic. 432 Ritardando —ritard. (on) rit, — Gradually slower Begin by discussing the Allegretto tempo marking and practicing the rit. in the GB VEACHING TIP scttwo measures Sess 10 psy together it snecesay to wath the conductor. 25. GLOW WORM Alegria vsti saverton stor anchors Paul Lincke: ov aes TES saeco ms a a Percussion Rudiment = = Flam Paradiddle Similar to a timpani rol use two bass drum mallets of equal size and roll on the same side Bass Drum Roll drum plying toward opposte ends of the bass drum ea for bes resononce. —————— —So B 1 gs e ooo D D ‘200 or Encourage good tone quality and legato-stye playing. B TEACHING TIP gmpnasize watching the conductor forte release ofthe last note, 26. ALMA MATER - New Note Practice long tones on all new notes. A.C Weekes, W.M. Smith, H.S. Thompson Andante gone, i : 3 > 2 s = of v pomats Eve v .—= ‘The Scottish folk song Loch Lomond Is credited to a anonymous soldier who was imprisoned and awaiting execution. Inthe writes of his desire to return home to his family and the breathtaking beauty of Loch (Lake) Lomond, a lake In Scotland, Located in the southern highlands, the lake is almost entirely surrounded by hills, One of these is. Ben Lomond, a peak 3,192 feet high. Drag A snare drum rudiment consisting of @ double bounce and a single stroke.B TEACHING TIP Remind students to watch the conductor to play the rit. together 27, LOCH LOMOND Melero es e & v of ews tucosi a Scottish Folk Song= = Sal charges dni ce cyl wana uta Key Changes _iineat the key change. You may also see natural signs reminding you to “cancel” previous j aps orto, Kespplorg soy we cect nic: elcaan ie nev ta) Sorat Discuss the key change at the thin double bar and clap the rhythm B TEACHING TIP inthe second measure together before playing the exercise. 28. MOLLY MALONE Irish Folk Song Allegro es o . : os ov Steyning = F 7 s o bere49 ‘i cresc. crescendo (or) Dynamics decrese. = decrescende (en) B TEACHING TIP Prepare for this exercise by practicing cresc. and decresc. ona single pitch 29, RISE AND FALL fe ae HE e Pruepe Poms- B TEACHING TIP Before playir 30. NO COMPARISON this exercise, review its articulations. B TEACHING TIP Use the S-T-A-R-S acronym to help students improve sightreading skills. 31, SIGHTREADING CHALLENGE remember the ST-A-R-S guidelines fom wom wf one51 EE ¢ Time Signature a 2bbeats per measure te Cut Time (Alla Breve) Half note gets one beat oe Discuss the note values in cut time. Then, have students clap and count two measures ata time before trying the entire exercise. TEACHING TIP 32. RHYTHM RAP. clop theshythm while counting and tapping. Hf td dy TEACHING TIP Have students count tis exercise while performing the fingerings before playing. 33. A CUT ABOVE opts Kotor52 Ea mw ‘Make sure that everyone understands the 2/4 time signature, JB TEACHING TIP her coun and finger this exerci before paying. 34, TWO-FOUR YANKEE DOODLE Moderato ‘American Folk Song RF it ar este, ote @ TEACHING TIP view the cut time signature 35. CUT TIME YANKEE DOODLE ‘American Folk Song he ot if wv= B TEACHING TIP Have students count and finger this exercise before playing, 36, MARIANNE Jamaican Folk Song, ‘Moderate Roar Pome Fieeome Zoe Irae Discuss the dotted haf note in cut time; have students YB TEACHING TIP tein the counting or the ene exec Percussion Review Right Hand Lead sticking pattern 37. THE VICTORS Louis Elbe! March Tempe F i ihe Peon# u HE eee Fn Kathe 55py i g it HE Ore Ae BL i BG TEACHING TIP Encourage students to write inthe counting for extra credit 38. ESSENTIAL CREATIVITY write this exampte in cut time ¢ before playing, Allegro A t37 memes Ee k Use full breath support at all dynamic levels, by oe y 2 me ay Percussion Dynamics P— Plano softy): bring sticks close to head ‘mp — mezzo piano (moderately soft): lift sticks alittle higher amg’ — mezzo forte (moderately loud): normal stick height °F — forte loudly: lit sticks even higher Tenor Ssophone the dynamics, students should count and clap this exercise before playing. ee ._ Do. ? B TEACHING TIP obser $ 39, A- ROVING - New Note Moderato = : ee | ? f at ‘Syncopation occurs when an accent or emphasis is given Syncopation J. J4-2). toa ate tat ienoron a stong best. The ype oe bese” 5 : feel is common in many popular and classical styles, Discuss the syncopation definition that is highlighted in the student book. As the TEACHING TIP Scents count and dap ths exre-be cain tha they emphasee e aces 40, RHYTHM RAP58 TEE B TEACHING TIP _setore playing, have students emphasize the syncopated notes as they count and finger this exercise. 41, IN SYNC te oe B TEACHING TIP point our the syncopated notes before playing this exercise Percussion Optional:The Sus. Cyr. and Snare Drum parts can be played by one person ifdesre 42. LA ROCA Moderato . Puerto Rican Folk Songimc (43) ‘American composer George [Link] (1878-1942) was also a popular author, producer director and performer. He helped develop a popular form of American musical theater now known as musical comedy. He is aso considered to be one of the ‘most famous composers of American patriotic songs, earning the Congressional Medal of Honor in 1917 for his song Over ‘ There, Many of his songs became morale boosters when the United States entered World War in that same yeareu ree iY B TEACHING TIP quiz Assessment - Pick-up notes, accents, syncopation, dynamics, and accidentals. A ZB 43. ESSENTIAL ELEMENTS QUIZ - YOU’RE A GRAND OLD FLAG oe ‘Marsh Sigle oe ™P oe tETE 61 ier. FEeton \ yf HE cme 7co fi New Key Signature awones ee “his ke sonata cats the Kay af Cire sap fe pesrinnnt ete “i hey sgrone dts te Kay ofD_ ley ss Fopares anol Ces Cana F Hom GE tnstey smarts toyota srs — - — — — . ts B a 8 o$=}, eww aay — i. ers c ‘ in, f= eS ofS =. é ‘ Fon Trombone Sartone BC. Sorkone TC, Fe B B c eo Discuss the new key signature. Practice the new note and BB TEACHING TIP rake sre tne cavints understand the ight hand Ch 44. KEY MOMENT - New Note cones yong 198990 ——$— Losey Percussion This exercise can be used as a dally warm-up to develop forearm muscles.63 EOE TEE Remind students about the key signature. Also, stress that BB TEACHING TIP ote before breath marks should stl be given fllyale. 45. THE MINSTREL BOY Irish Folk Song Andante es ee 2H ea ‘he oe P i ti‘Avo Chinet Bass Clarinet Gi og Fue Pee. Meow ae en — = ges! re — — — —— BS BS B TEACHING TIP Play the new note before playing this exercise and review staccato, 46. CLOSE CALL - New Note Concer 8 e : oeI co & TEACHING TIP the syncopated notes will sound with more emphasis ifthe elghth notes proceeding them are played lightly 47. VICTORY MARCH shea ‘March Tempo PF F i t seweane ta HE oe i FN i fe Cy Hi fer » FeThewrer Ta Cut Time Syncopation 32). d-¢1J J bowmin cya Sl Son THEORY Review cut time and then have the students write in the counting. TEACHING TIP sc sihether exercise 47 and 48 shoud sound the same 48. WINNING STREAK [Link], March Tempo oie t irc67 TT ie 5 Eten i i ‘ihe ors w«8 B TEACHING TIP Asie students what each leter ofthe 5 acronym means and have them review it with respect to this exercise, 49. SIGHTREADING CHALLENGE remember theS-T-A-R-5 guidelines, ‘Moderain = *e: . Sixteenth Notes ae 5 FA ee oe 3 = shat beer oe Introduce sixteenth notes and practice their counting (1-e-8-3). Cap and count each measure of this exercise one at a time, & TeacHING 50. RHYTHM RAP B TEACHING TIP count and finger tis exercise before playing. Make sure the tempo remains steady. 51, SIXTEENTH NOTE FANFARE Shae i HE ont iiorie he2 B TEACHING TIP count and finger this exercise first, maintaining a steady beat, 52. MOVING ALONG oe H ca een (53) Percussion Tom-Tom Composers use this term to describe a wide variety of drums without snares. Common instruments include ‘the double headed tom-toms on drum set, and the single headed concert tom-toms mounted on stands. Use sticks or felt mallets on the tom-tom. A snare drum with snares off may be used as a substituten POECIEETE B TEACHING TIP Prepare by having half ofthe students clap and count ine A while the other half cap and count line B. 53. BACK AND FORTH - Duet 1a, Moderato a v a & tS,54, COMIN’ ROUND THE MOUNTAIN VARIATIONS - New Note Moderato ee if Hr oe © hr Sn thor imc Percussion Drum Set ‘To learn the basics, start with the three primary sounds of a drum set: EEE Play ata slow, steady tempo before moving up to Moderato. B TEACHING TIP pein out the sncopation imenure ‘American Folk Song f f L oyeetao cms if ‘The practice of one person playing several drums and cymbals ina sitting position began with the"trap drummers in the late 1890' and early 1900% in travelling shows, the circus and the theatre pit. Today, drum set has become {an important part of many styles of music groups including jazz ensembles, rock's roll bands, and pit orchestras. Ride Cym, Suspended Cymbal - usually called “Ride Cymbal" and. played with the right hand. Drum Set notation: ‘Snare Drum ~ played with the left hand. al sp Bass Drum ~ played with a foot pedal. BD.EOE a fig # a Exerc ete oteosB TEACHING TIP cuiz assessment - sirteenth notes, accents syncopation, and counting rests. B 55, ESSENTIAL ELEMENTS QUIZ co Moderato => > os f seca f HE eee iti Percussion Use Fiam Paradiddle Sticking when playing the 16th note groups.e PERFORMANCE SPOTLIGHT Exercises 56-62 can be used a8 a cumulative review of previous material andr as a E TEACHING TIP prepared band concert, Other items which could be added to the concert include ddemonstations ofthe various instrument families and highlights from earlier materia 56. WARM-UP CHORALE 4.5. Bach/[Link] John Higgins Largo = Bie ? cet Asx, 2 tars ange oper76 57. THE THUNDERER ~ Band Arrangement aa ennai March Sipe =e 12) 7 qa a af on cet poe E Aesoe i : f x cine Essscnye a ovine 6 Anse DS ent Fine = Deal Fine Ls a 2 oe DP oumpat st2 Percussion Bongos _ongos are the highest pitched hand drums in the Latin American percussion family. Tracitionally, bongos ‘with skin heads are playea withthe fingers while sitting down, holding the bangos between the knees with the larger drum on the right. Bongos are also available with plastic heads mounted on a stand. These ‘bongos can be played with thin sticks or smal, hard felt mallets. 58. HILL AND GULLY RIDER - Band Arrangement eed te Moderato (J=98) a age 2 a cit AS. homo79 Iran7 59. SHENANDOAH - Band Arrangement ‘American Folk Song Largo (= 62), ‘Amr by John Higgins s fm 2 a = eS Wine Paton Wr P roopet Orme Walesfi Onin © Asx terse. meee (€x.60) Percussion Guire The guito (pronounced we'ro) is a Latin American instrument usually in the shape of a gourd with hollowed-out notches on the side. Its played by scraping a stick along the notched side. A good sound will result if you keep constant pressure on the stick while scraping, Gross Stick Rim Shot Place the ip ofthe left stickin the middle of the head and gently strike the left stick with the right justin front of where you are holding the stick.82 PERFORMANCE SPOTLIGHT 60. LAS MANANITAS - Band Arrangement ‘Mexican Folk Song ‘legeo e108) Arby ohn Higgins 8 Anse sn repereine S Aheson Pt i i i XN tows meea 61. RONDEAU - Band Arrangement Jean-Joseph Mouret March Style (J~ e108) [Link] John Higgins cine P Ais terse if BN cine 2 Ais, ne ex amarare 85 [Link]-cobcetothoagn Mand payee. = DS. al Fine Powe e Aso. 2 fers, tang86 REET 62. [Link] - Encore Band Arrangement ‘Moderato (J= 104) John Higgins cine Bates W tern W romp i ANE i B Atsos, WS 1 remneTEACHING TIP clap and count measure two as a preparatory exercise. 63. RHYTHM RAP [éced=2 0] ee VEEP beeen apogee rear eaeem ee emeaeeeeeemea: i uw B TEACHING TIP countand finger this exercise in a steady rhythm before playing. 64, SIXTEENTH VARIATIONS Eom Daezesale ae < if HE ie Eek i89 Percussion Tambourine Knee to Fist Technique ‘The preferred method for playing rapid passages isthe knee to fist technique. Position your foot on a smal tool so that the knee is raised. Hold the tambourine above your knee with the head facing down and close your other hhand over the open end of the tambourine to form fist. Move the tambourine to the knee (it should bounce off. of the top of the knee), then up to the closed fist following the K and F markings in the music. Count and finger this exercise before playing. Students should count in B TEACHING TIP Saccat syle when toccurs and aso observe dynes (note the cresc). 65. SEA CHANTEY Moderato nAem on one Beet c=} 4 “sates bosscao Ashore atone Sapte Thorpe! bo tN bo "s E, Be Be ae Tontooe serene ie reves D> Be D> 235) D> . 080 000 ceo B TEACHING TIP Practice the new note before playing this exercise 66. AMERICAN FANFARE - New Note pane ype t Tact nanan agente i. New Key Signature (e.67) i eee ‘This key signature indicates the Key of Ab play all Bs as B-lats all E's as E-flats, nee Be all As as A-flats,and all Ds as Dla. bo nstruments = This ay signature noleates the Key oft pla s+ 8s, and al a ens THEORY Binstuments = Tis tratre Incas the Kay of pay a Bsa Bats. ‘This key signature indicates the Key of Es play al B's as Bats all's as Eats, on and all Asas A‘ats >s1 Gorines ro ie c Electric Bass Ab Major Scale Fingering. & Try Ab major scale fingering, mw Explain the new key signature before beginning this exercise. B TEACHING TIP Encourage students tous str aros they pay Up the sae, 67. SCALE STUDY - New Note conch Ske TOR UiekhandBfoguiogieambiaten th aL Kotont a Percussion Flam Rudiment Review ‘This exercise includes Flam Taps (measures 1-2), Flam Paradidles (measures 3-4) and Flams (measures 4 and 7). Observe all stckings carefully7 wm ‘Make sure the clarinets understand their left hand C fingering and have B TEACHING TIP her pracce te interval Ct Ein the staff) before playing hs execs 68. BILL BAILEY ‘Moderato Hughie Cannon ie g i F Hi ore Ee ae Eeassihrerosera en Ph RENE ye HE Prtotent a Percussion Crash Cymbal Chokes (Hi-Hat Style) ‘Student Book Page 14, seeding — Hold the cymbals in @ horizontal position with the edges of the cymbals closed against your stomach and open facing away from you. Using the edges close to ‘your stomach as 2 hinge, close the cymbals on the beats, and open them on the rests. 937 First,clap and count [499 4]. Then, clap and count tone measure at atime before playing the entire exercise. @ TEACHING TIP 69. RHYTHM RAP [FB- 7] Ot Oa eons Se ee NY J TEACHING TIP Count and finger this exercise in 2 steady rhythm before playing. 70, RHYTHM ETUDE te 7m 7 OuMake sure the students observe the dynamics B TEACHING TIP scehey festcount and Anger tis exerse 71. BATTLE STATIONS Moderato f @ HE Leg u geet 95. B TEACHING TIP Hove the students circle the dynamic markings. Before playing review the [Fol figure. Electric 855. Try using only 31d fret through éth fret postions. 72, ENGLISH DANCE ‘Moderato wv7 ZB TEACHING TIP Review the [Sa] and [Ta] chythmic Figures. Make sure the dynamics and accents are observed. 73. BIG ROCK CANDY MOUNTAIN ‘American Fol Song Allegre fe Ps, F ™p i 7 HF Set ; a inte i een a a Percussion Tambourine Sixteenth Note Technique Hold the tambourine in a vertical position. To play four sixteenth noves, move the tambourine toward the opposite hand, then back then move the tamboutine to the heel of the opposite hand (for the accent), then back. Repeat for each group of sixteenth notes.98 G TEACHING TIP quiz assessment key, [STI], [ITA]. dynamics, slurs, and D.C. al Fine. Electric Bass. Use A> major scale fingering. Ai Gh 7a, ESSENTIAL ELEMENTS QUIZ F,99 Rallentando ral. ~ Gradually slower (same as rtardando} First, conduct the last two measures while the students clap, and count them, following the conductor carefully. & TEACHING TIP 75. SIMPLE SONG ~ Duet Adagio erty eer F Yew i ? a, "allie B TEACHING TIP Asa proparatory exercise, play the first two measures, stressing the diferent articulations Percussion Review the Flamcue Rudiment, 76. LINE DANCE Alegeto ae . ov Le aarsmte aeSEE a) my Count and finger this exercise, keeping a steady rhythm, @ TEACHING TIP hon play empaslang sendy, even siteenth note, 77. TECHNIQUE TRAX Moder fete i i . aX # i HE eRe eS Kise Fe Eien102 Ena To avoid rushing or uneven sbteenth nots have the students ist count and finger BG TEACHING TIP the exercise then tongue the exercise (omit the lr) and fnally play itas written, 78, THE GALWAY PIPER Irish Reel Moderato <— oF ey eg103 @ TEACHING TIP Hovest its write the counting under the notes. 79. MANHATTAN BEACH MARCH . John Philip Sousa ‘Mare Tempo : ent a £ vgn bene t HE ut Phe se q a Hi rt104 “ Review the S-T-A-R-S acronym and then have the students play the exercise B TEACHING TIP ncourage the proper performance of ariclations asa part of ightiensng succes. BO. SIGHTREADING CHALLENGE remember the5-7-A-R-5 guidelines, “Allegretto oF f i i f i i FEW if iF i HE eee it. JB TEACHING TIP clap and count the second measure explaining the La] rythm. 81. RHYTHM RAP (72= 273] Spear ra ote ea Po) ood 4 Veh eD aS aah 1 wD OS Ae Dae R A THOR aera sr eae JB TEACHING TIP the rythm in this exercise exactly matches that of exercise 8). 82. MARCHING ALONG if ii fee rae106 Ore ‘To properly balance the chords with a full ensemble, J TEACHING TIP. ve thetow bres end woodwinds pay part. 83. FANFARE FOR BAND - Trio ‘Macstoso S x = - f see HE a Pane Sn rt107 B TEACHING TIP Review the dotted rhythms. 84, O TANNENBAUM German Carol Andante pe este [ee a Sx Eietie csded ERE w Have aifthe css count and finger this exercise while the other al paysit, B TEACHING TIP Sescrving the articulations. Sve fora steady tempo throughout Electric Bass. Use As major scale fingering. 85. S’VIVON Traditional Hanukkah Song or 5d109 me Point out where the repeat occurs. Encourage playing the B TEACHING TIP acco notes ighty ana giving the tent noes al value 86. GOOD KING WENCESLAS English Carol Allegretto oo v + seam a sf X ano Z DAILY WARM-UPS so worcours ron ronca recumiove Exercize 87-90:Students should now begin to use these new daly warmupsto B TEACHING TIP jp continue ther development of tone technique and ensemble Istening sl Percussion Rout Double Bounce ‘A double bounce is 2 controlled multiple bounce consisting of only two bounces per stroke. Rolls that use double bounces are called open (measured) rolls. RELUBRLUR BLOB BLL 4 Specal eBreussion Entree Percussion ‘This exercise shows the correct number of hand motions and strokes for the Five Stroke Roll (measures 2~4) and ‘the Nine Stroke Roll (measure 5) Use the Double Bounce Technique of one hand motion for two strokes (bounces) 87. TONE BUILDER Piayatavery stow tempo. Site atinSem u ‘Clarinet, Bass Clarinet Try “Right Hand B' for smoother technique, Percussion. This example shows how open five stroke rolls are written in music. ‘Use the same technique from the previous exercise for these rolls. 88. FLEXIBILITY STUDY see fFie Electric Bass. Use Ab major scale fingering. Percussion This example shows how open nine stroke rolls are written In music. Use the same technique from Ex.87 for these rolls 89. TECHNIQUE TRAX a i HE Pee zion ihe hori90. CHORALE a cet tong con. © ret EEE EET Johann Sebastien Bach 113= Stress the importance of properly playing the articulations B TEACHING TIP andthe [J73] rhythm for a good musical performance. 91. TOREADOR SONG (from CARMEN) Maesteso = ee es Georges Bizet od t oe u v it aeWe French composer Georges Bizet (1838-1875) entered the Pars Conservatory to study music when he was only ten = yea od, There he won many avers for voice, piano, organ, and composition. Bizet best known composition i the opera Carmen which was frst performed in 1875. Carmen tls the story ofa band of Gypsies soldiers smugglers and : outlaws. Originally ctcized for ts realism on Steg it wes soon hailed asthe most popular French opera ever written, i DH FA/G) G/B use in the exercises below. MOA to bo 5 = 5 = More Chromatics “The snallest distance between two notesis shal: [Link] a scale made up of consecutive alsteps isa chromaticscate, These are usualy writen wih pang tnharmontenotes~sharps when golgupandfats Tara Le Lp fel ele] al el ¢ when gong down chant . tmecnan Tsoi ig B 2 F/G) tesa! B F2/G> Gece # F/G Go J oI Clarinets and saxophones should practice the appropriate B TEACHING TIP hemate angering: before ploying this enomete sale Winds Practice slowiy unt you are sue of al the fngerings/postons Percussion. The sixteenth notes preceding the 17 stroke rolls use the same number of hand motions. The hand motions never change speed; |ust go from single strokes to double bounces (open rolls). [Link]. Practice slowly until you are sure ofall the notes. 107. CHROMATIC SCALE oh Ateneo tem oe Pree iow i137 hn i aea ‘Student Book Pag B TEACHING TIP Practice slowly at firs anc gradally increase the tempo Mesh “odd HN) SH] Vybd, Pere. Practice with the following sticking parems: [“TIT9) “Soy3) Sieh) “H) 108. TECHNIQUE TRAX Sa nga ere (€x.99) > BZ —_AHabafiera isa Cuban dance and song form n slow 2/4 meter. tis named after the city of Havana, the capital £ ‘of Cuba. Made popular in the New World in the early 19th Century, it was later carried over to Spain, There the 2B _stythms of the Habariera were incorporated into many styles of Latin music. One of the most farnous Habatieras is heard in Bizet’ Carmen, written in 1875,139 cote ye pent G/D: ir G/Ds- 8B TEACHING TIP Review the correct fingerings befor playing this exercise. ‘inet oe 109. HABANERA (from CARMEN) ‘Andante ; Georges Bizet aiestnte cies i tin ii o c er) ; aN i Kota a ih ae 2 a Percussion In addition to the tambourine shake, another method of producing a sustained sound on the tambourine is Tambourine __ the thumb rol. Holding the tambourine in the left handy begin by placing the right thumb at 3 o'clock on the Thumb Roll Peed. Move the thumb slowly with sight pressurein a counter-lockwise direction toward 9 o'clock The proper combination of thumb pressure and slow speed will produce a sustained sound on the tambourine.i? 7 rer TEACHING HP Senos smetanaane ane eens neces 110. CHROMATIC CRESCENDO: Moderata141 mw B TEACHING TIP Remind students not to rush the four slured sixteenth notes and to tongue beat two in measures 3 and 7. mW mune! _ (from THE RUINS OF ATHENS) Lag van Beethoven C7 ofwm B TEACHING TIP _ Be sure notes preceding breath marks are given thei full value, 112. THE OVERLANDER Allegre Australian Folk Song oo i aie Keptie B TEACHING TIP Point outthe key change at the end ofthe fst line. Note the enhaemonics and check for correct alternate fingerings. fercsslon Review the double cing patems used inthis rample. Can you deni the aden measure? rr Ce 113. STACCATO STUDY 1 ancora Modo a Herd Ferme iF om e i Ene enter Kethe fete i i HE ont ene Sna B TEACHING TIP hok students where the syncopated notes occur. 114, YANKEE DOODLE DANDY igs George [Link] F v wT #M45146 Cork i if i H Ask students to identify the numberof counts each note receivesin this exercise, B TEACHING TIP eicw5-T-A-R-S and have students play the exercise. 115, SIGHTREADING CHALLENGE Remember the S-T-A-R-S guidelines: S$ - Sharps or flats in the key signature, T-Time signature and tempos, A ~ Accidentals, R- Rhythm, $~ Signs Moterto a ot oeEE “47 A triplets a group of3 notes played inthe space of J 4 Triplets n2,3,or4time,an eighth note triplets spread oe fn aa 1 cip-let 2 wipe ‘waOUNL evenly across one beat. Explain the triplets. Then, clap and count each measure TEACHING TIP separately before tying the entre wise 116, RHYTHM RAP eee ee ee FR Bem #1 Demet 8 Delt 2B pele kT pel 2 vp a ZB TEACHING TIP the shythm from exercise 116 appears here as wel 117. THREE TO GET READYSt PEELE Have half the students play while the others count and finger this exercise. B VEACHING TIP Thon, such bore having everyone play togethec 118. TRIPLET STUDY 1 Concer Oe Enemas oe fi HE eat iorBreerteriees ed cbc150 & TEACHING TIP Have the low brass and woodwinds play line 8 119. MARCH (from THE NUTCRACKER) - Duet Allegretto Peter Tehaikowshy ov oF B ab HE eee PhS151 if H HE EH ree Fm ceoi es B TEACHING TIP quizassessment- Key,accents staccato, and t ZB 120, ESSENTIAL ELEMENTS QUIZ - THEME FROM FAUST Charles Gounod . : lets Maesioso -_reo iE ‘Bassoon Ao sine AkoClainet tartone axohone = fae ¢ Baritone BC F 900 Baritone TC Toba Tobe eceicBans EtecticBog, G E> FI= E 5 B Remind students to give the quarter note before the quarter rests full value BB TEACHING TIP ihe ipletsare nt being payed evenly have the students clap and count hem, Flute Move your jaw and bottom lip forward as the scale ascends. Scie BaesFasjorsatengeina, FR ty Fa sate taeng 121. SCALE STUDY New Note cece ome ‘peste onc cate ql hears,- B TEACHING TIP Have students write in the counting before playing this exerci Electric Bass Try F major scale fingering, 122. OVER THE RIVER AND THROUGH THE WOODS ‘American Folk Song Allegretto a mw 8 Wee om i ow Sr ineecu Bera! a ae Dts. itor are 155156, B TEACHING TIP To prepare, count and clap measures 3 and 4 123. RHYTHM RAP [ded =] oe eo J I T aa ee oes 6 = B TEACHING TIP The rhythm here matches that of exercise 123. 124, ON THE MOVE 7 u i a a Percussion Hi-Hat The hi-hat was introduced in the 1920’ and is now a standard plece of equipment forthe drum set. A small pair of cymbals are mounted on a stand, and a foot pedal allows the top cymbal to open and close on the bottom cymbal, The hi-hat is played with sticks with the cymbals in either a closed position or alternating between open and closed positions.157 Play the frst measure by itself, observing the articulations B TEACHING TIP afore playing teenie exercise. Sessa send tempo 125. HIGHER GROUND Moderato aa . at . . oF ———=+; 50x yOnensegs | amare158, zt 700k Pag @ TEACHING TIP cuizassessment - sixteenth notes, dotted quarter notes, and dynamics. Be 26. BA 126. Ftillaae ELEMENTS QUIZ Bocas159 ity‘Student Book Page 26 ‘The first known printing ofthe lyrics and music to The Marines’ Hymn dates from August 1, 1918. An unknown author is believed to have taken the opening words of the song from the words on the Marine Corps flag,"From ‘the halls of Montezuma to the shores of Tripoli" The music was taken from “Genevieve de Brabant,“ by the ‘operetta composer Jacques Offenbach. B TEACHING TIP Have students frst clap and count the frst eight measures withthe pick-up. Percussion [(¢2—~1 = 3 2-. ] 127. THE MARINES’ HYMN Mareh Tempo : t il R f 3161 hi teen ran retinise D.S. al Fine __ "2yntilyousee the [Link] Fine. Then so back tothe sign ($8) and play until the word Fine, eee DS. is the abbreviation for Dal Segno, or “from the sign,‘and Fine means"the end.” B TEACHING TIP. Askavolunteerto explain the difference between D.,al Fine and [Link] Fine, 128. D.S. MARCH ‘March Tempo, f163164 Accelerando accel. ~ Gradually faster B TEACHING TIP Practice the accel. by following the conductor on repeated quarter notes. 129. CAN-CAN Jacques Offenbach Allegretto L f soir,BG TEACHING TIP write in the counting before playing this exercise. 130, TARANTELLA Allegro Italian Folk Song = Sree £ o ior ineric Percussion in order to obtain the proper feel when playing music in 6/8, percussionists often use natural Natural Sticking sticking io enhance the phrasing. By applying n alternate sticking of RLRL RL to each measure, then remove the sticking when there ia rest you are left with the natural sticking forthe piece.= £ 5 131, wn OFF i HE Ht Rm ‘The waltz is a dance in moderate 3/4 time which developed around 1800 from the Landler,an Austrian peasant dance. Austrian composer Johann Strauss, Jr. (1825-1899) composed over 400 waltzes. These include such famous pieces as The Blue Danube, Tales From the Vienna Woods and Emperor Waltz. B TEACHING TIP Have a student explain the fist and second endings. EMPEROR WALTZ Andante ~ Tez etn ira tom Johan Strauss =167 f if a # A Toa sen egte Legato Style legato ~ Played ina smooth, connected style. B TEACHING TIP Play each line seperately before assigning pars. Percussion Use natural sticking, 132. ENGLISH DANCE - Duet Johann Christian Bach A Andante . ee os if ce mp leu ‘ap ts roe istic ap Tea SSHE a Worx Piva aie > EELS | eh hoermacataoe170 rm ‘Quiz assessment ~ Key, pick-up note, [Ja], first B TEACHING TIP second ending repeat srs, and dynamics, Be 133, ESSENTIAL ELEMENTS QUIZ - BRITISH GRENADIERS Traditional om Allegretto — a oe s 3 v ire HE Bi hete f H one beget ee (e134) Percussion Congas SEE ‘Congas are the largest hand drums in the Latin American percussion family, Traditionally they are played asa single ‘deur from a sitting position, but a double set of drums on a stand is also quite popular. While the Bongos use more ‘of a finger technique, the Congas use the entire hand on the skin to produce the fullest sound. The printed hand ‘motions will allow you to avold crossing hands when you play. in2 BE TEACHING TIP Ask students where the syncopated notes occur. 134, NASSAU BOUND Bahamian Folk Song Moderato ‘i : oe voa g HE ae Bnet aor, feat he 173ve B TEACHING TIP observe the accidentals and listen for legato playing 135, UNFINISHED SYMPHONY THEME oe Andante ep la ep ee XY s feet pega eee oei. BZ TEACHING TIP clap and count this exercise before playing, Percussion Review lams,flam taps and drags. ~ 136. RHYTHM STUDY i ieee, ‘Braet176 Measure Repeat Repeat the previous measure once for each Measure Repeat sign, Show the stents the measure repetslon an explain how iis used TEACHING TIP Then ploy measures and 6 before beginning the exercise, 137. COUNTRY GARDENS Allegretto English Folk Song om wo Meas pest diet psa HE on LF sae ianrecsenstd ov ‘et- B TEACHING TIP piay siowly at fast and gradually increase the tempo to Allegro. Percussion Review doubling, or double sticking [Link]. remember: Use a slow up-stroke on eighth notes to produce legato style. 138. JOSHUA African-American Spiritual Allegre wy gH a Aes oF Wh So 7 qH HE PF oneal. 1797 Review the counting of the pick-up notes as they apply to the cut time B TEACHING TIP Signature. Also remind student to hol led note for teirfullvalue, 139. LISTEN TO THE MOCKINGBIRD Moderato : Alice Hawthorne fey of re i uf , HE ay i fl BNE if He i uyRudiment Top Flam eect : ‘The Tap Flam is simply the reverse of the rudiment Flam Tap. Notice once you ‘get started this new rudiment feels very much lke the Flam Tap. The difference is that you begin this new rudiment with the tap stroke, followed by the flam,m B TEACHING TIP Practice the second ending in preparation for this exercise. 140. ANCHORS AWEIGH Capt. AH. Miles and [Link] ‘Mareh Tempo . ‘ —— ee f 8 cine oor HE ocr183 Percussion 2 2 faa io. Sixteenth Note Triplets oe oad Fod= iste Sd ade 1 triplet 2. tip-let 1 ah deh @ ahah184 EEE B TEACHING TIP Hove students circle the accidentals. 141, GREENSLEEVES ‘Andante English Folk Song Een iiElectric Bass Use Ab major scale fingering. [Link]. Remember: Use a slow up-stroke on eighth notes to produce legato style (e143) Percussion Chimes Use a rawhide mallet or a special hammer with a synthetic head to play the chimes. There is a rounded cap ‘that is placed at the top of each tube; this is the striking area. Always remember to play the instrument on ‘the capr never strike the instrument anywhere else or you will damage the tubes. 185186 eae eee eee nin cuter 2 its teal it BES fc $= reason oven pre ve ade doe pide B® TEACHING TIP Encourage students not to overblow in the higher register and to use good breath support. 142. THE LONG CLIMB - New Notes bia esa pes oa y 3 8 ase nos ZB TEACHING TIP Emphasize good phrasing by encouraging students to breathe only atthe breath marks. 143, THE BLUE BELLS OF SCOTLAND Scottish Folk Song Moderato fF f. i f Ea if rin coe = om187 a pe ad of ow yp ie of og io a | ai wool for ie | Boawe Po ow@oi Bo: dh | a188 Major and Minor ‘The scales you've already learned are called Major scales ‘They all follow the same pattern with hal-steps between notes 3-4 and between notes 7-8. [Natural Minor scales follow afferent pattern with haalf-steps between notes 2-3 and 5-6. The G Minor scale uses the same key signature as B» Major. ‘Another type of minor scale is called Harmonie Minor, ‘which adds an accidental to raise the 7th note by a haif-step. Compare the scales on the right. ‘See page 37 for additional minor scales. artone BC Bontone TG Tuba G & TeAcuine Ti Ask students where the half-steps occur. 144, NATURAL MINOR SCALE - New Note ihe189 B TEACHING TIP Ask students whether this exercise sounds major or minor. 145. FINALE FROM “NEW WORLD SYMPHONY” ame Antonin Dvorsk190 ine bor It iG Gi/Ab BG TEACHING TIP Ask students to identify the whole steps and the raised seventh step ofthe scale. 146. HARMONIC MINOR SCALE - New Note Soho FN i HE Per2 B TEACHING TIP Ask students whether ths sa major oF minor exercise. 147, HUNGARIAN DANCE NO. 5 Johannes Brahms Allegro ii = = oe ov i it oer tS peeve,i BG TEACHING TIP Ask students whether thisis a major or minor exercise. 148. POMP AND CIRCUMSTANCE ‘Maesone Edwerd Elgar v ding viet v a eres Soot.Xv 193 efi] ellie cl]ftl enc (| ( 6 WN ba 4) ma i i : & z a i z ey ia 1 dea FB gaint see ier owen, kotor194 PERFORMANCE SPOTLIGHT Play until you see the [Link] Coda. Then go back to the sign (%8) and play unt the Coda Sign D.S. al Coder (7, coe) skp crc tothe Coda and play ntl heen B TEACHING TIP explain the DS. al Coda and point out the key change at measure 20. 149, SIMPLE GIFTS - Band Arrangement -— ‘Shaker Folk Song . 7 Arby Jahn Higgins cat eae wens. B Also t Et Sx f Moderato (= 96) tenet t a195 Pooint 6 Ans PS eet se wang he Bea Prion196 Pama. Pans We Se fe © remotiy Powina And. base # Ase. bei Sn tempt i- (] Macstxe = a w awe. ame. Ase tourSen ra ew i) Macro 72) Tenge or RotemReet ie) cine Bana. Pend. Asa, tS 0 Sx W romp if200 B TEACHING TIP Review 6/8 time. Don't allow rushing and stress proper articulation 150. SEMPER FIDELIS - Band Arrangement March Tempo. 5 John Philip Sousa ee ee ‘Ariby John Higgins oo Point ben © As omen f ete oe 7 = March Tempo (.=120) Use eighth note hand motions and play double bounces on the rolls.201 Same. PAs ee, tae 1 ranger Feoictod202 Byron tw =f e Ply at ty oe Poytntaey o Pay Ded P Alea, ve wow ea E Mose or 1 tera v ta Son ” B tenes! Ply ony v Pi nda cty ov Poy ney oe . ym ney Hct v Loob cin whose Alsen, soe rant ie, Tien soon204 ona Pts So eam Tosti iets Fort205 ECEET baea tose tor 8a se hae coon ico fl - oie cr tee. trae W tenpe Booey Llecyaint wese e Mesen Perso bas oe ramet ‘eas 207208 PERFORMANCE SPOTLIGHT a The dynamic ots (lay very lous used in measure 26. Instruct your students B TEACHING TIP 2 se good breath support and tone quality wien playing loud, and not to overblow Irish Folk Song 151, DANNY BOY - Band Arrangement ‘Atrcby John Higgins Andante (= 92) _— ° cine Wake ot Sx Andante (492) emp209 eae. teed. 8 ans Boek sa: hoepe hbacto210 St emul 2 Asa metder Pama ewe, B tsee ‘af onnpe Prompt he, Beacon if ‘Student Book Page 32 2