ESSENTIAI

GONilPREHENST\/E BAND'NEÌHOD

rTflI LAUÌZENIIETSERJOHN HI@GINSGHARI.ES lvlENGHTNTPAUT LAVENDER.rom G. R.HoDESDON BTERSGHENK

|{=HALllqqry4Fp'

rHE BASIGS

PostureSit on the edge of your chair, and always keep your:. Spine straight and tall. Shoulders back and relaxed. Feet flat on the floor

Breathing & AirslrearnBreathing 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.. lnhale 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 instru-

ment. Your tongue is like a faucet or valve that releases the airstream.

Producing Íhe Essentiol lìone"Buzzing" through the mouthpiece produces your tone. The buzz is a fast

vibration in the center of your lips. Your embouchure (ahm'-bah-shure)ís

your mouth's position on the mouthpiece of the instrument. A good em-

bouchure 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.. Center the mouthpiece on your lips. 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.

toking Gore OÍYour lnstrumenlBefore putting your instrumentback in its case after playing, dothefollowing:. Use the water key to empty

water from the instrument.Blow air through it.

. Remove the mouthpiece.

Once a week, wash themouthpiece with warm tapwater. Dry thoroughly.

. Wipe offthe instrument witha clean soft cloth. Return theinstrument to its case.

Trumpet valves occasionally need

oiling. To oil your trumpet valves:. Unscrew the valve at the top of

the casing.. Lift the valve half-way out of

'the casing.. Apply a few drops of special

brass valve oil to the exposed

valve.. Carefully return the valve to its

casing. When properly inserted,

the top of the valve should

easily screw back into place.

Be sure to grease the slides regu-

larly. Your director will recom-

mend special slide grease and

valve oil, and will help you applythem when necessary.

.rJ

MOUTHPIECE WORKOUTUsing 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.

I nEsr II nEsr

I rtteihttt'lq,h"

mouthpiece Íeceivervcrlves,/l\t 2 3

mouthpiece

veilve ccsingc

Íirst valv . "lia./

Step I Put your left thumb and fingers around thevalve casings and pick up the trumpet. Your lefthand supports the weight of the instrument.

Step 2 Place your left ring finger inside the ring of thethird valve slide.

Step 3

9lep 4

hook/

fhird vnlveslide

second volve slide fhird veilve slide ring

Getting lt logetherThroughout this book, all instructions apply to both cornets and trumpets because they are played exactly the same way.

\*or"r key

-\Bar Line

Bar lines divide the music staffinto measures.

Hold the mouthpiece at the wide end with yourright hand. Gently twist the mouthpiece intothe mouthpiece receiver.

Arch your right hand to form a backwards"C."Place your thumb between the first and secondvalve casings. Place your little finger on top ofthe hook.

READING MUSIC ldentify and draw each of these symbols:

Music Sloff Ledgerlines

Step 5 Always sit or stand tall when playing.Hold the trumpet as shown:

Meqsures & Bqr Lines

Measure Measure

The music staffhas 5 lines and 4

spaces where

notes and rests

are written.

Ledger lines extend

the music staff.

Notes on ledger lines

can be above orbelow the staff.

IBar Line

--r

Bar Line

4

[ong Tone \ . To begin, we'll use a special"Long Tone" note. Hold the tone until yourrteachertellsyoutore5t.Practicelongtoneseachdaytodevelopyoursound'

I. THE FIRST NOTEHold each long tone until your teacher tells you to rest.

Gooo123"G" is played with open valves. Just rest your fìngers lightly on the valves,

The BeotThe beat is the pulse of music, and like your heartbeat it

Notes And RestsNotes tell us how high or low to play by their placement on

should remain very steady. Counting aloud and foot-tapping a line or space of the music staff, and how long to play by

help us maintain a steady beat. Tap your foot down on each their shape. Rests tell us to count silent beats.

number and up on each "&."

Onebeat = 1 &

JI

2. COUNT AND PLAY

À À À Àì7 Y Y -t ìt Y Y

Count:1 &2&3&4& 1 &2&344& 1 &243 &4& 1 &2&3&4&Tap: JïJ'f JïJt JïJ'f JlJ1 JlJïJÌJï JIJIJïJï

3. A NEW NOTELook for the fingering diagram under each new note.

ttEc?

o-\The black circles tell you which valves to push down."F" is played with lst valve.

4. TWO'S A TEAM

À À À AIt ll

Count&Tap:1 &2 &3 & 4& 1 &243 &4& 1 &2 &3 &4& 1 &2 &3 & 4&

5. HEADING DOWNPractice long tones on each new note.

tÍE) | ÍIEJ !,z\ \ \

i.l

6. MOVING ON UP

I

ÀÀ fl À Â À II -7

rtEJ I /ì \- NEJ Is7 \.7

Foo

) Quarter Note = 1 beat

I Quarter Rest = 1 silent beat

Eooo

Count&Tap:1 &2&3 &4& 1 &2 &3 &4& 1 &2 &3&4 & 1 &2&3&4&

Double Bor

-

indicares the end

-fI

of a piece of music.Repeor sisn

- #:Hï:ï"1.:'i:,;liffi:

THE

Dooo

&4 &

Double Bar

Repeat Sign

1& &3&4& &2&3&4& 1&2&3&4&

7. LONG HAUL

8. FOUR BY FOUR

Count&Tap:1&2&3

9. TOUCHDOWN

oÀ aY Y ìt ìt I'

cooo

I O. THE

..@--{>

1&2&3&4&I

Note Nqmes

4&

(G Clef)indicates theposition of notenames on a musicstaff: Second line

indicates how many beats per measure Each note is on a line or space of the staff. Theseand what kind o/4ote gets one beat. note names are indicated by the Treble Clef.

{-tnoã

ÍlEit I tÍE) |

-@F--+>

FAB FIVE

Treble Clef Time Signoture

# raises the note and remains in effect for the entire measure.

b lowers the note and remains in effect for the entire measure.

\/

# ]J= 4 beats per measure

= Quarter note gets one beatis G.

ShorpFlotNOIUfOl I cancels a flat (b) or sharp (#) and remains in effect for the entire measure.

I I . READING THE NOTES Compare this to exercise 10,THE FAB F|VE.

aÀ aYY tt

1& 2 & 3 &

12. FIRST FTIGHT

3.

nESSENTIAL ETEMENTS GtUIZ Filt in the remaining note names before ptaying.

I

CDE

6

DF

---r-I

--J-ooo

G--t-

I

--a-ooo

----t-----l-Jooo

--rI-l-

ooo

I

----l---a-ooo

Notes ln ReviewMemorize the fingeringsfor the notes you've learned:

14. ROLLING ATONGGo to the next line. t

Double Bar

Holf NoteIO1=2Beats

1a 2&

Holf Rest

= 2 Silent Beats I = ì--ì-=+-1&2&

15. RHYTHM RAP Clopthe rhythmwhilecounting andtapping.

Clap Repeat Sign

1a2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4&

16. TFIE HALF COUNTS

1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2a3&4& 1&2&3&4& 1&2&3&4&

17. HOT CROSS BUNS Trythissong onyour mouthpiece only. Then play itonyourinstrument.

Breoth Mqrk ) ïake a deep breath through your mouth after you play a full-length note.

I8. GO TELL AUNT RHODIE American Folk Song

ESSENTIAT ETEMENTS GIUIZ tJsing the note nomes and rhythms below, draw your notes on the staff before ptaying.9.

n)))))))FEFEDCD

))FG

Whole Nofe

O-----)=4Beats

1a2&3&4&

Whole Rest

1&2&3&4&

A Whole Measureof Silent Beats

Whole Rest Half Rest

------.--------I

hangs from sits on a

a staff line. staff line.

20. RHYTHM RAP Ctap the rhythm while counting and topping.

Clap

1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2a3a4a l&2&3&4& 1&2&3&4&

21. THE WHOTE THING

1&2&3&4& 1&2a3&4& 1&2&3&4&

Duet

&4& l&2&3&4& l&2&3&4& 1a2r3&4& 1&2&3&4& 1a2a3&4&-ì

A composition with two different parts, pl\dd together.

22. SPLIT DECISION - Duet

KeySignoture

The Key Signature tells us which notes to play with sharps (#) "r

ffats (b) throughoutthe music. Your Key Signature indicates the Key of C (no sharps or flats).

I

IiC'tI

23. MARCH STEPS

24. TISTEN TO OUR SECTIONS

Percussion Woodwinds Brass Percussion Woodwinds

25, TIGHTTY ROW

26.

nESSENTIAL ETEMENTS GTUIZ Draw in the bar tines before you ptay.

Fermqlq

27. REACHING

â Hold the note (or rest) longer than normal.

HIGHER - New NotePractice long tones on each new note. Fermata I

^AF29.

-\Aoao

AU CTAIRE DE tA IUNE French Folk Song

I -#

29. REMIX

aÊoE

-ts

30.

:I

Hormony Two or more notes played together. Each combination forms a chord.

TONDON BRIDGE - Duet English Folk Song

ÉC)ts5I

Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who started playing professionally at

age six, and lived during the time of the American Revolution. Mozart's music is melodic and imaginative. He wrote more

than 600 compositions during his short life, including a piano piece based on the famous song,"Twinkle,Twinkle, Little Star."

3I. A MOZART METODY Adaptation

32. ESSENTIAI ELEMENTS GTUIZ Drawthese symbolswherethey belons andwrite in the note names before you play: fr'll

-4

NoteDEEP POCKETS - New#Wooo

33.

34. DOODTE Att DAY

35. JUMP R.OPE

Pick-Up Notes

3ó. A.TISKET, A-TASKET1 Pick-up note

One or more notes that cohdbefore the firstfuttmeasure. The beats of Pick-Up Notes aresubtracted from the last measure.

4& 1&2&3&4& 1&2&3s

I

f 'forte (play loudly) ngf - mezzo forte (play moderately loud) gt - piano (play softly)Remember to use full breath support to control your tone at all dynamic levels.

Dynomics

37. IOUD AND SOFT

Clap

f38. JINGIE BELLS Also practice new music on your mouthpiece only.

,!f

J. S. Pierpo

39. MY DREYDT lJse full breath support at all dynamic levels. Traditional Hanukkah Sor

10

il1&

40. RHYTHM RAP Ctapthe rhythmwhile counting and tapping.

CIap

il n=iTnEighth Notes

Each Eighth Note = 1/z Beat

2 Eighth Notes = 1 Beat

Play on down and up taps.

J-* J-'.nn1&2&

Two or more EighthNotes have a beamacross the stems.

I Beam

l&2&3&4&1&2&3&4&

41. EIGHTH NOTE JAM

&2&3&4& &2&3&4&

1&2& 3&4&

42. SKIP TO MY LOU

1&2 &3&4&

American Folk Song

43. LONG, LONG AGO Good posture improves your sound. Always sit straight and tall.

44. OH, SUSANNA Stephen Collins Foster

fI

ÉoFI--

Italian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very proficient on the piano,violaandhorn. Hewrote"WilliamTell"atage3T asthelastof hisfortyoperas,anditsfamiliarthemeisstillheardtodayonradio and television.

45. ESSENTIAL ETEMENTS GTUIZ - WILLIAM TEtt Gioacchino Rossini

n"!f

p Time Signoture4

# = il::,ïïïïliillï" 0",.{bConducring

Practice conducting thistwo-beat pattern.

IT!!(aa

46. RHYTHM RAPClap

1&2& 1&2

47. TWO BY TWO

& 1&2& 1&2 & 1&2 & 1 & 2& 1&2& 1&2&

ïempo Morkings

48. HIGH SCHOOT CADETS - MqrchAllegro

Tempo is the speed Qfjlusic. Tempo markings are usually written above the staff, in ltalian.

Allegro - Fast tempo Moderato - Medium tempo Andante - Slower walking tempo

John Philip Sou

"f49. HEY, HO! NOBODY'S HOIYIE - New Note

A=d_e

aoo

Reproduced by Permission oÍ Boosey & Hawkes Music PublisheÍs

Dynomics

50. CLAP THE DYNAMICSClap

Crescendo (gradually louder) Decrescendo or Diminuendo (gradually softer)

p

5I . PIAY THE DYNAMICS

12

PERFORMANCE SPOTHOHT52. PERFORMANCE WARM.UPS

TONE BUILDER

RHYTHM ETUDE

RHYTHM RAP

CHORALEAndante

53. AURA tEE - Duet or Bqnd Arrongemenl(Part A = Melody, Part B = Harmony)

Andante

-pGeorge R. Poulton

"!f

-p

üeA "If

- -

-

+p

e -

,rfA

"f ,lf - - -r- pA

-f -*f

54. FRERE JACGIUES - Round (When groupAreaches@,group Bbesinsat@)Moderato

G)@

^

p

French Folk Song

*!f

"f

PERFORN'IANCE SPOTUOHT55. WHEN THE SAINTS GO MARCHING lN - Bond Arrongement

Allegro E -, Measure numberArr. by John Higgi

"tf E

5ó. OtD MACDONALD HAD A BAND - Section Feoture

2nd time go on to meas. 13

57. ODE TO JOY (from Symphony No. 9) Ludwig van BeethovrArr. by John Higgi

-p

58. HARD ROCK BTUES - EncoreJohn Higgi

t-

f

14

lte

59. FIT TO BE TIED

A curved line connecting notes of the same pitch. Play

one note for the combined counts of the tied notes. = 2 Beats

2 beats )

óO. ATOUETTE French-Canadian Folk Song

Dotfed Holf NofeI

O.+=3Beats1&2&3&

a\A dot adds half the value of the note.

)._)2beats+lbeat

J. - oo, )3 beats

óI. ATOUETTE - THE SEGTUET French-Canadian Folk Song

éC)l-6--

American composer Stephen Collins Foster (1826-1864) was born near Pittsburgh, PA. He has become the most recognizedsong writer of his time for works such as "Oh Susanna," which became popular during the California Gold Rush of 1 849.Among his most well-known songs are "My Old Kentucky Home" and "Camptown Races."

62. CAMPTOWN RACESStephen Collins FosterAllegro

,!f

ó3. NEW DIRECTIONS

64. THE NOBTES Always use a full airstream. Keep fingers on top of the valves, arched naturally.

ó5.

nESSENTIAT ETEMENTS GIUIZ

3 Time Signofure4

# = ãi:lïïï,iãiiilï" 0",,

66. RHYTHM RAPClap

ConducÌing

Practice conducting thisthree-beat pattern.

rN---t+

ItII(IaI

1&2&3& l&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3&67. THREE BEAT JAM

të'&2&3& 1&2&3&1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3& 1

ó8. BARCAROTLEModerato Jacques Offenba

------"f

--Norwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suitefor a play by Henrik lbsen in 1875, the yearbefore the telephone was invented by Alexander Graham Bell. "Morning" is a melody from Peer Gynt Suite. Musicused in plays, or in films and television, is called incidental music.

IIIIa(ItI

69. MORNING (from Peer Gynt)^ Andante

-mfAccenf Emphasize the note.J

70. ACCENT YOUR TATENT

(t

Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diversemusic features lively accompaniments by drums and other percussion instruments such as maÍacas and claves.Music from Latin America continues to influence jazz, classical and popular styles of music. "Chiapanecas" is apopular children's dance and game song.

71. MEXICAN CIAPPING SONG ("Chioponecos'/)

III(I

(I

-ti

Latin American Folk So

f72. ESSENTIAT CREATIVITY

Ê

Compose your own music for measures 3 and 4 using this rhythm:w))

16

IoH--ts

73.

Flqr b

HOT MUFFINS - New Note

74. COSSACK DANCE

A flat sign lowers the pitch of a note by a half-step. The note B-flat sounds a half-step belowB, and all B's become B-flats for the rest of the measure where they occur.

Bh1 Flat applies to all B's in meosure.

Allegro

f75. BASIC BTUES - New Note

Key Signoture

ïhe Key Signature tells us which notes to play with sharpsor flats throughout the music. This Key Signature indicatesthe Key of F - play all B's as B-flats.

76. HIGH FTYING

Fooo

Bb

Flat applies to all B's in measure.

I st & 2nd Endings

Play through the l st Ending. Then play the repeatedsection of music, skipping the 1st Ending and playingthe 2nd Endíng.

ÉoE-F

tr----__lE---1

Moderato

ãÊol-t6--77)

2ndeea_ + ____lttme

Japanese folk music actually has its origins in ancient China. "Sakura, Sakura" was performed on instruments such as

the koto, a 13-string instrument that is more than 4000 years old, and the shakuhachi or bamboo flute. The uniquesound of this ancient Japanese melody results from the pentatonic (or five-note) sequence used in this tonal system.

SAKURA, SAKURA - Bcrnd Arrongement

Andante

Japanese Folk SongArr. by John Higgins

-p

"!f

78. UP ON A HOUSETOPAllegro

Key Signature

79. JOttY OLD 5T. NICK - DuetModerato

A

See page 9 for additional holiday music, MY DREYDL and JINGLE BELLS,

80. THE BIG AIRSTREAM - New Note

"!f

8I . WATTZ THEMEModerato

IC

(THE MERRY WIDOW WATTZ)

-ooo

Franz Lel

V -

"f"tf

-mf

82. AIR TIME

"f@ Glocken Verlag Ltd., L€

Reproduced byPerm

83. DOWN BY THE STATIONAllegro

-

84.

n85.

C

,Ifta-

-'

ESSENTIAT ETEMENTS GTUIZ

"tf -fESSENTIAL CREATIVITY tJsing these notes,improvise your own rhythms:

-

18

n,DArLY wARM.uPs8ó. TONE BUILDER useasteadystreamofair.

WORK.OUTS FOR TONE &TECHNIQUE

87. RHYTHM BUITDER

88. TECHNIGIUE TRAX

89. CHORATE (Adapred from cantota 147) Johann Sebastian Bach

â

---

Theme ond Voriofions A musical form featuring a theme,or primary melody,followed by variations, or altered versions of the theme.

90. VARIATIONS ON A FAIYIITIAR THEA/IE

Theme Variation 1

^

p

éC)gI

-h

,fVariation 2

D.C. ol Fine At the D.C. al Fine play again from the beginning, stopping at Fine (fee'- nay).D.C. is the abbreviation for Da Capo, or "to the beginning," and Fine means "the end."

a -'.9I. BANANA BÓAT SONG Caribbean Folk Song

Moderato Fine

"f

I

ê

*!fD.C. al Fine

I

Shorp #A sharp sign raises the pitch of a note by a half-step. The note F-sharp sounds a half-stepabove F, and all F's become F-sharps for the rest of the measure where they occur.

- New Nofe92. RAZOR's EDGE

F#F_\ Ffooc

93. THE MUSTC BOXModerato

I

_\ Ffp

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 onfor generations without being written down. The first collection of spirituals was published in 1 867,four years afterThe Emancipation Proclamation was signed into law

94. EZEKIEL sAW THE WHEET African-American SpiritrAllegro

Slur

95. SMOOTH OPERATOR

A curved line which connects notes of different pitch. Tongue only the first note in a slur.

s Slur 2 notes - tongue only the first.

96. GI.IDING AIONG

SIur 4 notes - tongue only the first.) slur 4 notes - tongue only the tirst,

Ragtime is an American music style that was popular from the 1890's until the time of World War l. This early form ofjazz brought fame to pianistr-li(p "Jelly Roll" Morton and Scott Joplin, who wrote "The Entertainer" and "Maple Leaf Rag."Surprisingly, the style was inèedorated into some orchestral music by lgor Stravirisky and Claude Debussy.The trombones now learn to play a glissandq a technique used in ragtime and other styles of music.

97. TROMBONE RAG

TIIÍT(aa

Allegro [ --lE lt

98. ESSENTIAT ELEMENTS QUIZAndante

n

20

99. TAKE THE IEAD . New Nofe

ã PhfqSe A musical"sentence"which is often 2 or 4 measures long. Try to play a phrase in one breath.

-ts

I OO. THE COID WIND

ooo Fh

Phrase

I Ol . PHRASEOTOGY write in the breath mark(s) between the phrases.

-p

New Key SignotureThis Key Signatureindicates the Key of G - playall F's as F-sharps.

SATIN LATINAllegro

eÊ.lgLt-i-

l02.

Mulriple Meosure RestThe number above the staff tells youhow many full measures to rest.Count each measure of rest in sequence: l-z-t-q 2-z-t-q

German composer Johann Sebastian Bach (1685-1750) 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 becamean organist, a teachet and a prolific composer, writing more than 600 masterworks. Íhis Minuet, or dance in3/4 time, was written as a teaching piece for use with an early form of the piano.

1-z-z-+ 2-z-z-q

Johann Sebastian Bach'

41o,ts,5

-

I 03.

^rÉ

'LH

MINUET - DuetModerato

o*fA

+te ---\\i-l

,

\-7- 4'

"lf \-/

ESSENTIAI CREATIVITY

/---\--\-.]

This melody can be played in 3/4 or 4/4. Pencil in either time signature, draw the bar lines andplay. Now erase the bar lines and try the other time sìgnature. Do the phrases sound differentT

I 04.

,,ç

NqturEl A natural sign cancels a flat (b) or sharp (#) and remains in effect for the entire measure.

I.II(Ia!

I 05. NATURAILY

Austrian composer Franz Peter Schubert (1797-1828) lived a shorter life than any other great composer, but hecreated an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment), tensymphonies, chamber music, operas, choral works and piano pieces. His "March Militaire"was originally a piano duet.

I Oó. IVIARCH íì/iluTAtREAllegro I

III(!

(aI

Franz Schubr

lO7. THE FLAT ZONE - New Note

Eb, FI 08. ON

Allegro

ooo

TOP OF OtD SMOKEYAmerican Folk Sor

a

Boogie-woogie is a style of the blues, and it was first recorded by pianist Clarence "Pine Top" Smith in 1928,one year after Charles Lindbergh's solo flight across the Atlantic. A form of jazz, blues music features alterednotes and is usually written in 12-measure verses, like "Bottom Bass Boogie."

. BOTTOM BASS BOOGIE - DuetAllegro

IIaÍa(JI

r09

:IllzIr.

AJJA

J ë.t

+A

B

22

J._JDofted Gluqrter& Eighth Notes

I \ Adotaddshalf I l-l L<AsinqleeiqhthJ.+J) = z se"ts *y_1y::_f-,h" J--J ) Jl noteiasa-rtas

quarter note . on the stem.1&2&1&2&

I I O. RHYTHM RAP

1&2&3&4&1&2&3a4&

I I I. THE DOT ATWAYS COUNTS

&3&4: 1& 2 & 3 & 4 &

1& 2 & 3 & 4 & 1a2 & 3 & 4 &

II2. ALt THROUGH THE NIGHT

1&2&3&4& 1&2& 3a4&

D.C. al FineFine

-

pv

English Folk SongI 13. SEA CHANTY Atwaysuseafullairstream,

I 14. SCARBOROUGH FAIR English Folk Song

I 15. RHYTHM RAP

1&2&3a4&1&2&3&4&

I I ó. THE TURNAROUND

1& 2 & 3 & 4 & 1&2&3a4&

1 &2&3&4a 1 &2&3a4& 1 &2&3&4&

II7. ESSENTIAT ETEMENTS GIUIZ . AULD LANG SYNEAndante

1& 2 & 3 & 4 &

,tf i\--7 a' J''.

Scottish Folk Song

PERFORNilANCE SPOTLIOHTSolo with PionoAccomponiment

I I8. THEME FROM "NEW WORTD SYMPHONY"Largo E -" Measure number

You can perform this solo with or without a piano accompanist. Play it for the band, the school ,

your family. lt is part of Symphony No.9 ("From The Newworld,,) by czech composer AntoniDvorák (1841-1904). He wrote it while visiting America in 1893, and was inspired to includemelodies from American folksongs and spirituals. This is the Largo (or "very slow tempo") them,

Antonin Dvo

----j

-_

[ãí] slo*"'

+_-- {>-

,. {

Piano Accompaniment

lã slo*".

24

SPECIAT TRUMPET EXERCISE - tip SlursLip Slurs aÍe notes that are slurred wíthout changing valves. Brass players practice these to develop a

stronger airstream and embouchure, and to increase range. Add this pattern to your daily Warm-Ups:

Great musicians give encourogement to fellow performers. On this page, clarinetists learn their instruments' upper

register in the"Grenadilla Gorilla Jumps" (named after the grenadilla u,rood used to make clarinets). Brass players

learn tip slurs, a new warm-up pottern. The success of your band depends on everyone's effort and encouragement,

I 19. GRENADITLA GORILIA JUMP No. I

I2O. JUMPIN' UP AND DOWN

l2l. GRENADILLA GORlttA JUMP No. 2

I22. JUTì/IPIN' FOR JOY

123. GR.ENADILIA GORlttA JUMP No. 3

tt rJI24. JUMPIN'JACKs

,_/

lnfervql The distance between two pitches is an interval. Starting with"1"on the lower note,count each line

and space between the notes. The number of the highei note is the distance of the interval.

ãÊog-l-

2nd-t 3rd-r 4th--r 5th-r óth--r 7th

125.

rESSENTIAT ETEMENTS GTUIZ Wrìte in the numbers of the ìntervals, counting up from the lower notes.

lntervals: t 2nd t

126. GRENADITTA GORIILA JUMP No. 4

I27. THREE IS THE COUNT

128. GRENADITLA GORILTA JUÍúP No. 5

v

129. TECHNIGIUE TRAX

cRossrNG

+-----_iFooo

I 30.

D

Trio

I 3l . KUM BAH YAH - Trio Always checkthe key signature.

Moderato

OVER - New Note

A trio is a composition with three parts played together. Practicethis trio with two other players and listen for the 3-part harmony.

-\D

African Folk 5c

aA

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I I

f

t

a *!fA

I

C

,lf

AüA

-_ p

ü

^

t. ,Ç/ ê-p

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26

Repeot Signs

I32. MICHAET ROW THE BOAT ASHOREAndante

Repeat the section of music enclosed by the repeat signs.(lf 1 st and 2nd endings are used,they are played as usual - butgo back only to the first repeat sign, not to the beginning.)

Africa n-America n Spi ritual

,lfÂIloll ..1.

I33. AUSTRIAN WATTZModerato -

Austrian Folk Song

I34. BOTANY Australian Folk SongAllegro

-f

Time

#Signofure= CommonTime

lsameasft)

TECHNIQUE TRAK Proctìce at alt dynamic levels.

,!f\-l

e Conducting

Practice conductingthis fou r-beat pattern.

Éog--,.*

I 35.

I3ó. FINLANDIAAndante

Jean Sibelius

p

rnf, .-

llz

p

137. ESSENTIAI. CREATIVITYCreate your own variations by penciling in a dot and a flag to change the rhythm of any measure from

_@ 8íeitkopf& Haeftel,Wiesbaden - Leipzig

lJ ) l',lJ. )l

E

I38. EASY GORIIIA JUMPS

139. TECHNIGIUE TRAK Atwayscheckthe key signature.

I4O. ÍYIORE TECHNIGTUE TRAX

I4I. GERftlAN FOLK SONGModerato

v-

142. THE SAINTS GO MARCHIN'AGAIN -James Black and Katherine Pur,

Allegro

mrL

I43. LOW.AND GORIIIA WAIK

\--; \-_;

144. SMOOTH SAtuNe

\-_,

I45. MORE GORILIA JU'YTPS

146. FULL COVERAGE

28

'Ë,og

-!r

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 C (no sharps or flats),so the top and bottom notes are both C's. The interval between the C's is an octave.

147. CONCERT Bb SCATE (Trumpet - C SCATE)Octave-

Scole

eÊoE-F

Chord &

Octave

4

When two or more notes are played together, they form a chord or harmony. This C chord isbuilt from the 1st,3rd and 5th steps of the C scale. The Sth step is the same as the 1st, but it is an

octave higher. An arpeggio is a "broken" chord whose notes are played individually.

I 48. IN HARMONY Divide the notes of the chords between band members ond play together. Does the arpeggio sound like a chord?

Arpeggio

Chordf- Arpeggio----113531 Chord

l- Arpeggio------185358

149. SCATE AND ARPEGGIOScale

ÉohI-

Austrian composer Franz Josef Haydn (1 732-1809) wrote 104 symphonies. Many of these works had nicknamesand 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 sleepyaudience. Pay special attention to dynamics when you play this famous theme.

I50. THEME FROM "SURPRISE SYIìAPHONY"Andante

p

ESSENTIAT ETEMENTS GIUIZ - THE STREETS OF TAREDOWrite in the note names before you play.

American Folk Songl5l.

n

PERFORNilANCE SPOTHCHT152. SCHOOT SPIRIT - Bond Arrongement

W.T. PuArr. by John Higg

E

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.

153. CARNIVAL OF VENICE - Bond Arrongement

Soli

Allegro

Julius BenecArr. by John Higg

I

"!ftr

f@

end Soli

-

30

n DAILY WARM.UPS WORK.OUTS FOR TONE &TECHNIQUE

I54. RANGE AND FTEXIBILITY BUILDER

I55. TECHNIQUE TRAX

t 5ó. cHoRAtE Johann Sebastian Bach

^

éoh6-

-nf-p

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 the opening ceremony

and played by members of the Palestine Symphony Orchestra at its conclusion.

I57. HATIKVAH

_

lsraeli National Anthem

Andante

Eighth Note& Eighth Resf

= 1 12 beat of sound

7 = 112 beat of silence

fTnJt Jt1&2&

rTn7)r)1&2s

I58. RHYTHM RAP

1&2&1&2&1&2&

I59. EIGHTH NOTE MARCH

1 &2& 1&2& 1 a-2& 1 &2& l&2&

1&2&l&2&

I óO. MINUET

1&2 & 1&2 a 1& 2& 1&2& 1&2& I & 2&

Johann Sebastian BacModerato

IóI. RHYTHM RAP

1&2&3&4&1&2a3&4&

162. EIGHTH NOTES OFF THE BEAT

1&2s3a4&1&2a3&4&

3 a 4 &1& 2 & 3 a 4 & 1& 2&

I ó3. EIGHTH NOTE SCRAMBLE

1&2&3&4&1&2a3&4&

164. ESSENTIAI ETEMENTS GIUIZAndante

n"f

p "f

32

I ó5. DANCING MEIODY - New Nole

AF@ooo

American composer and conductor John Philip Sousa (1854-1932) wrote 1 36 marches. Known as "The March King,"Sousa wrote The Stars And Stripes Forever,semper Fidelìs,TheWashington Posf 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 melodyfrom his famous ElCapìtan operetta and march.

166. Et CAPITAN John Philip SousaAllegro

lAb

.-)rãÊ.C).F,6I-a-

Reproduced by Permission ofBoosey& Hâwkes Music Publshers LÌd.

éÉ)hvt--

"O Canada,"formerly known as the"National Song,"was first performed during 1880 in French Canada. RobertStanley Weir translated the English language version in 1908, but it was not adopted as the national anthem ofCanada until 1980, one hundred years after its premiere.

167. O CANADA

Maestoso (Majesticalty)

Calixa Lavallee,l'Hon.Judge Routhier

and Justice R.S.Weir

*!f

-

I ó8.

nESSENTIAI ELEMENTS GIUIZ - METER ÍúANIA Count and ctap before ptayins. Can you conduct this?

a

Düandgb çfrqn4XbVVEnhqrmonicsTwo notes that are written differently, but soundthe same (and played with the same fingering) arecalled enharmonics. Your fingering chart on pages46-47 shows the fingerings for the enharmonicnotes on your instrument.

169. SNAKE

Ab/G#

I7O. DARK SHADOWS

On a piano keyboard,eachblock key is both a flat anda sharp:

I

=F€t{

CHARMER

@ooo

C D E F GIA B C

Enharmonic notes use the same fingering.

t7l. closE

172. Tì'IARCH STAVLargo

ENCOUNTERSffiooa

rb/Dil

llt.-

Peter I llyich Tchaikovsl

\ Pick-up note

Enharmonic notes use the same fingering.

173. NOTES IN DISGUISE

ChromoticNotes

Chromatic notes are altered with sharps, flats and natural signs which are not in thekey signature. The smallest distance between two notes is a half-step, and a scale madeup of consecutive half-steps is called a chromatic scale.

I

Ii€tI

I74. HATF.STEPPIN'

34

eol-II

-

French composer Camille Saint-Saëns (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 operaSamson et Delilah. The opera was written in the same year that Thomas Edison invented the phonograph-1877.

175. EGYPTIAN DANCE watchforenharmonics. Camille Saint-SaënsAllegro

176. SITVER MOON BOATLargo

Chinese Folk Song

Fine

"If D.C. al Fine

p

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" itin his mind. As a testament to his greatness, his Symphony No.9 (p. 13) was performed as the finale to the ceremonycelebrating the reunification of Germany in 1990. This is the theme from his Symphony No.7, second movement.

177. THEIì,IE FROÍYI SYMPHONY NO. 7 - DuelLudwig van Beethoven

"f

ÉC'l-1^--

Allegro (moderately fast)

A

B

rnf

A

B

Russian composer Peter Illyich Tchaikovsky (1840-1893) wrote six symphonies and hundreds of other works includingThe Nutcracker ballet. He was a master at writing brilliant settings of folk music, and his original melodies are among themost popular of all time. His l812 Overture and Capriccio ltalien were both written in 1880, the year after Thomas Edisondeveloped the practical electric light bulb.

178. CAPRICCIO lTAtlEN Always checkthe key signature. Peter lllyich Tchaikovsl

:

I-gI

C7-

Allegro

179, AMERICAN PATROTAllegro

F.W. Meacha

--u'--

I8O. WAYFARING STRANGERAndante

African-American Spiritu

l8l.

nESSENTIAL ETEMENTS QUIZ - SCAIE COUNTING CONGTUEST

36

PERFORNilANCE SPOTLIOHÏ182. AMER.ICA THE BEAUTIFUI - Bond Arrongemenl

Maestoso

SamuelA.WardArr. by John Higgins

-[Z Andante

5

-f-a

-ntf

lãlMaestoso

I83. tA CUCARACHA - Bond Arrongemenl Latin American Folk SongArr. by John Higgins

-p

PERFORTNANCE SPOTLTOHÏI 84. THEME FROM I 812 OVERTURE - Bond Arrongement Peter lllyich Tchaikovsk

Arr. by John Higgin

@)

I

38

PERFORTNANCE SPOTLIOIITSolo wirh PionoAccomponimenf

185. THEME FROM SYMPHONY NO. I - Solo

Performing for an audience is an exciting part of being involved in music. This solo is based onSymphony No.l by German composer Johannes Brahms (1833-1897). He completed his firstsymphony in 1876, the same year that the telephone was invented by Alexander Graham Bell. You

and a piano accompanist can perform this for the band or at other school and community events.

(Concert Eb version)

EJohannes Brahms

Arr. by John Higgins

r,f r

Trumpet

Piano

\t:

-nf

DrtErgHere is an opportunity to get together with a friend and enjoy playing music. The other player does not have to playthe same instrument as you. Try to exactly match each other's rhythm, pitch and tone quality. Eventually, it may beginto sound like the two parts are being played by one person! Later, try switching parts.

SWING tOW SWEET CHARIOT - DuetAndante African-America n Spiritu:

I 8ó.

:[H

U

A

p -\9' I

I

I

\J

v

A

B

187. tA BAMBA - DuetAllegro

B

D.C. al Fin,

-

--

Mexican Folk Sonc

afA Ì.!

A

B

D.C al Fine

al >Aú

LJ -----tp-

p-

40

RUBANrc gCAtE AND ARPEOOIO STUDIESTRU|ì'IPEï KEY OF G IGONCERT Bbl

l.

3.

TR.UIìIPET KEY OF F |CONCERT Ebl tnthiskeysisnature,ptayottBb's,

l.

4.

RUBANrc gCAtE AND ARPEOOIO STUDTES

tRUlttPEï KEY OF G |GONGERÍ Fl hthiskeysisnature,ptayatttfi's.

l.

(

3.

(

4.

(

TRUilPEI KEY OF Bb |CONCERT Abl Inthiskey sisnature,ptayattBb'sandEb's.

l.

42

W'RHYïHrul gÍuDtEs

âRHYrHm sruDrEs

44

4og-lr

l.

Composition is the art of writing original music. A composer often begins by creating a melodymade up of individual phrases, like short musical"sentences." Some melodies have phrases that seemto answer or respond to "question" phrases, as in Beethoven's OdeTo Joy. Play this melody and listento how phrases 2 and 4 give slightly different answers to the same question (phrases 1 and 3).

Ludwig van Beethoven2.Answer 3.Question 4.Answer

CREAilTNO TNUgrc

Composition

ODE TO JOYl.Question

2. Gl. AND A. Writeyour own"answer" phrases in this metody.2.Answerl.Question

3.Question 4.Answer

3.

A

PHRASE BUItDERS Write 4 different phrases using the rhythms below each staff.

f)) n ]-TT))

)))

4. YOU NAME IT:

n) rTT) J

Pick phrase A, B, C, or D from above, and wrìte it as the "Question" for phrases Then write 2 different "Answers" for phroses 2 and 4.I and 3 below.

2.Answer

1C)g--ts

lmprovisqtionlmprovisation is the art of freely creating you, o*Àmelody as you play. Use these notes to play your ownmelody (Line A),to go with the accompaniment (Line B).

METODY

dA

INSTANT

IWLK

5.

A

B

4l

Yu ."n mark your progress through the book on this page. Fill in the stars as instructed by your band director.

23 EgSENÍIALELETNENTS

STAR ACHIEì/ER

NAIUIE

27

26

25

424

622

21

20

919

1018

17

16

15 14

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 1 2-l3,Performance Spotlight

B. Page 14, EE Quiz, No. 65

9. Page 15, Essential Creativity, No. 72

10. Page l7,EEQuiz,No.84

1 1. Page 17, Essential Creativity, No.85

12. Page 19, EE Quiz, No.98

13. Page 20, Essential Creativity, No. 104

14. Page 21, No.109

11

12

13

Page 22, EE Quiz, No. 1 17

Page 23, Performance Spotlight

Page 24, EE Quiz, No. 125

Page 26, Essential Creativity, No. 137

Page 28, No. 1 49

Page 28, EE Quiz, No. 151

Page 29, Performance Spotlight

Page 31, EE Quiz, No. 164

Page 32, EE Quiz, No. 168

Page 33, No. 1 74

Page 35, EE Quiz, No. 181

Page 36, Performance Spotlight

Page 37, Performance Spotlight

Page 38, Performance Spotlight

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

I'IUSTG - AN ESSENTTAL ELE|nENT OF LTFE

46

FTNOERINO CHARÍ Bb ïnuMtPEt/Bb CORNET

Instrument Geire R.emindersBefore putting your instrument back in its case afterplaying, do the following:. Use the water key to empty water from the

instrument. Blow air through it.. Remove the mouthpiece. Once a week, wash the

mouthpiece with warm tap water. Dry thoroughly.. Wipe offthe instrument with a clean soft cloth.

Return the instrument to its case.

Bb TRUMPET

Trumpet valves occasionally need oiling. To oil your

trumpet valves:. Unscrew the valve at the top ofthe casing.. Lift the valve half-way out of the casing.. Apply a few drops of special brass valve oil to the

exposed valve.. Carefully return the valve to its casing. When

properly inserted, the top of the valve should

easily screw back into place.

Be sure to grease the slides regularly. Your directorwill recommend special slide grease and valve oil, and

will help you apply them when necessary.

CAUTION: lf a slide, a valve or your mouthpiece

becomes stuck, ask for help from your band directoror music dealer. Special tools should be used toprevent damage to your instrument.

Bb GORNET

o = Openo = Pressed down

lnstruments courtesy of Yomaha Corporation of America,Band ond Orchestral Division

ooo ooo

123ooor+i,Ãffi

123oooill

AbGfGbFfi

=

Dbc#BbAf

ooo ooo

ooo ooo ooo ooo

4

FINOERING CHART Bb ïnuìüPÊt/Bb coRNEr

D# Eb

Ffi Gb G# Ab

A# Bb c# Db

D# Eb

GbFf

c<>

oooooo ooo ooo

ooo ooo ooo aoo

ooo ooo ooo ooo

aoo ooo ooo ooo

ooo ooo

G# Ab

ooo ooo

ooo ooo ooo

48

DeÍinifions rps.l

Accent 1 5

Accidental 16

Allegro 11

Andante 1 1

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 1 1

D.C.alFine 18

Decrescendo 1 1

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

1 st & 2nd Endings 16

Flat 5

Forte ("f) 9

Glissando 1p (Trombone)

Half Notè--''6Half-step 33

Harmony 8

lnterval 24

Key Signature 7

Largo 23

Ledger Lines 3

Measure 3

MezzoForte (4f) 9

Moderato 11

Multiple Measure Rest 20

Music Staff 3

NaturalSign 5

Notes 4

Phrase 20

Piano (p) 9

Pick-Up Notes 9

Quarter Note 4

Ragtime 19

Repeat Sign 5,26

Rests 4,6,7,31Round (Canon) 12

Scale 28

Sharp 5

n REFERENCE TNDEX

Slur 19

Soli 29

Solo 23,38

Tempo 1iTheme And Variations 18

Tie 14

Time Signature 5

Treble Clef 5 (Treble clef inst.)

Trio 25

Whole Note 7

GomposersJOHANN SEBASTIAN BACH

. Chorale (from Cantata 147) 1 8

. 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

(Brass & LowWW's)

ANTONIN DVORÁK. 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

(HíghWW's)

JACQUES OFFENBACH. Barcarolle 15

GIOACCHINO ROSSINI

. William Tell 10

CAMILLE SAINT.SAËNS. Egyptian Dance 34

FRANZ SCHUBERT. March Militaire 21

JEAN SIBELIUS

. Finlandia 26

JOHN PHILIP SOUSA. ElCapitan 32. High School Cadets '11

PETER I LLYICH TCHAI KOVSKY

. Capriccio ltalien 35

. March Slav 33

. 1812 Overture 37

World lllusicAFRICAN. Kum BahYah 25

AMERICAN. American Patrol 35. America The Beautiful 36. . Aura Lee 12

. Ezekiel Saw The Wheel 19

. GoTellAunt 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. O Canada 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

. Frère 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