ESSENTIAL TECHNIQUE INTERMEDIATE TO ADVANCED STUDIES TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK HAL*LEONARD aC OR PORATION2 Bb MAJOR 1. SCALE AND ARPEGGIO Vastep 2s 2. EXERCISE IN THIRDS Ee > a 3. ARPEGGIO STUDY 4, TWO-PART ETUDE CHROMATIC SCALE 1 GE (&bennarmonic) whe oie > 6. BALANCE BUILDER ao A divisi ordi _Divide the writen parts among players, usually into two parts, with equal numbers playing each part. tnison or a2 All players play the same part (usually found aftr a divisi section).8. GREAT GATE OF KIEV Maestoso “1 Bold stately 3 Modeste Mussorgsky Es [ = * es % iomcai SHOES Black American Spiritual = = =F = 2B 2 SS ae f f = ] nf = eae Fe se = r= Ss] English composer George Frideric Handel (1685-1759) is among the best known composers of the Baroque Period (1600-1750). Sound an Alarm {from Judas Maccaboeus) and his most famous work, the Hallelujah Chorus, from Messiah) ‘are two well-known melodies from his oratorias, large scale works fr solo voices, chorus, and orchestra. 10. SOUND AN ALARM Allegro AMOASIE George Frideric Handel = pre see ae 11, HALLELUJAH CHORUS Allegro «: oy = Paeeeecrao see4 12. RHYTHM RAP. clop the snythm while counting and tapping. poli ly i I Bere Mees ese eters othe pa resare Eigninroregee onebest = Ybsst J = Zbeas J. = Shea 2 Time rcture SEE 3/8 time is usually played with a slight emphasis on the 1st beat of each measure. In faster music this primary beat will ‘make the music fee like it countedin 1." THEORY 13. RHYTHM RAP compore his exercise with No. 12, BT Wel aia 14, WALTZ PETITE f 15. MOLLY BANN: English Folksong : s ~ ~ a SS oe em | na ae = ia 9 beats per measure 2 teat Eighth note gets one beat J = 2beats 2 Time Signature THEORY 9/8 time is usually played with a slight emphasis on the 1st, 4th, and 7th beats of each measure. This divides the measure into 3 groups of 3 beats each. In faster music, these three primary beats will make the music feel lke ivs counted in 3." 16. RHYTHM RAP clap the riythm white counting and tapping, 123 4 5 6 7 a : : FT Afb cs eases 2 17. SUNDAY AT NINE AndanteG MINOR Minor Keys Minor keys and their scles sound diferent from major Keys because oftheir ciferent pattern of whole and half steps Each minor keys ela or"teloted to the mojo ey withthe same Key signature The simplest fom ofa minor key scaled natural minor. Two other types ae harmonic minor and melodlc minor, ach of which have certain atered tones, ‘AMOIHL 18. NATURAL MINOR Practice both upper and lower octaves, G6 = ee0 19, HARMONIC MINOR = ——-—— Seale FR 20. PAT-A-PAN Moderato = oe 21, THE SLEDGEHAMMER SONG Moderato SS SS SS ; — = {}— 9} Spo ee eel = yt mp 22, ESSENTIAL ELEMENTS QUIZ - AUSTRALIAN FOLK SONG ‘Australian =— Bross]6 E MAJOR 23. SCALE AND ARPEGGIO Yastep Bihar o 24, EXERCISE IN THIRDS 25. ARPEGGIO STUDY 26. TWO-PART ETUDE 27. CHROMATIC SCALE 2 = 28, BALANCE BUILDER a A B ¢ 29. CHORALE Andante Ps m ~ ~ = mf i rit.‘Austrian composer Johann Strauss J. (1825-1899) is also knovin as“The Waltz King,” He wrote some of the words most q famous waltzes (dances in 3/4 meter). This waltz is from Die Fledermaus "The Bat’), Strauss' most famous operetta, 2 perettas were the forerunners of today's musicals such as OkJahoma, The Sound Of Music and The Phantom OF The Opera 2 30. ADELE’S SONG Johann Strauss ‘Tempo di valse 1 Woltz tempo 1 Sea coe i= 31. MARINE’S HYMN Alegre | Const eek Va2E Ve dees ta2S 1h zeke 1 aTs Ta eeeteTe USPET LETS LEE atts Leder kre ae Lat 33. KEEPIN’ SECRETS Moderato : isefoee eee ee 34, THE KEEL ROW Moderato35. JACK’S THE MAN Moderately 1 Wahetipenecue | Davee |e abe lo shen @ Time Signature JAE = Lnmocgeconcoe ) —3teas d= Gbeas 5. = 12beats THEORY 12/8 time is usually played with a slight emphasis on the 1st, 4th, 7th and 10th beats of each measure. This divides the ‘measure into 4 groups of 3 beats each. These four primary beats will make the music fee! lke its counted“in 4." 36. RHYTHM RAP clop the rythm while counting and tapping. Fo ee ee eee LAL Dy, . a 4 38, WITH THINE EYES Lento «1 Slowly = of legato = z oe oof molto rit. 3 molto ‘muchMINOR 39, NATURAL MINOR i (———— peso —— Yate Ye Ye % en y we 40. HARMONIC MINOR fe Ye I= soe Even today, Native American indian music continues to be an important part of tribal dancing ceremonies, using Apache fdales, rattles, flutes and log drums to accompany simple songs. American composer Charles Wakefield Cadman (1881-1946) wrote this song in 1974 based on Indian melodies he researched throughout his lifetime. ‘AMOLSIH 41. SONG OF THE WEEPING SPIRIT Native American indian Melody Lento mysterioso <2 Slowly and mysteriously ‘Adapt. Charles Wakefield Cadman, WET 3 a = —— 42, SCOTTISH LEGEND pce ee SSS SS] 43, ESSENTIAL ELEMENTS QUIZ Which measures sound major and which ones minor? Andante10 F MAJOR 44, SCALE AND ARPEGGIO Pracie both upper and over octoves. Va step Ya Ye % 2 45, EXERCISE IN THIRDS 9 De es 46. ARPEGGIO STUDY — Dea 47. TWO-PART ETUDE = 48. CHROMATIC SCALE 49. BALANCE BUILDER a 50. CHORALE Andante A : an nf Z51. REST ALERT 52. RHYTHM RAP pT OL ITAA Tid, 1a 2e leka2e 1826 Leaad& 1h 2eha TH Pees Tehs2 se Tesa7Zs 53. ISLAND SONG f ca French composer Claude Debussy (1862-1918) created moods and “impressions” with his music. While earlier composers used music to describe events (such as Tchaikovsky 1812 Overture) Debussy’s new ideas helped shape today’s music. The style of art ‘and music created in this time is called “impressionism.” The first automobile was produced during Debussy's lifetime. Hedied — & the same year that World War | ended 2 54, THE LITTLE CHILD Claude Debussy Glocoso «Lightly, happily coo al 2 Triplets with Rests J+J Jd’ 12d ‘Tiplets that start or end with a rest are usually marked with a bracket ——9— MOTH 55. TRIPLET AND REST VARIATIONS12 56. TURKEY IN THE STRAW Allegretto ‘American Folk Song a = — 57. ESSENTIAL ELEMENTS QUIZ Wece the frst 2lines ofexercise 56 in cut time. Bs % _ Sixteenth Notes and Rests - 639 12 A= ‘Yabeat y= Vabeat J = 2beats } = 2beats = ing38s d= tbeat y= ibeat J.= 3beats p= 3 beats 59, SONATINA —?D MINOR 60. NATURAL MINOR Scale ‘Arpeggio ——, 7 _ hse at == 61. HARMONIC MINOR yy car = aa - 62. COSSACK MARCH Moderato : > 2 a S marcato oe Sas eee 7 SLAVONIC DANCE NO. 2 Allegro vivo <1 Fast lively Antonin Dvorak cl 64, ESSENTIAL ELEMENTS QUIZ - THE PRETTY GIRL Allegro Irish Ba a14 ‘A> MAJOR 65. SCALE AND ARPEGGIO. Proctce both upper and ower octaves, hse eB h 66. EXERCISE IN THIRDS 23 dogeiee 67. ARPEGGIO STUDY 68. TWO-PART ETUDE 69. CHROMATIC SCALE = 4 70, BALANCE BUILDER a ay 4 = 71, CHORALE btranla a a a a Sf‘The Star Spangled Banner isthe national anthem ofthe United States of America, Francis Scott Key wrote the words during 3 the 1814 battle at Fort WicHenry. Helstened tothe sounds of the fighting throughout te night while being detained on aship, ‘At dawn, he saw the American lag stil ying over the fort. He was inspired to write these words, which were laterettothe melody ofa popular English song, 2 72, THE STAR SPANGLED BANNER ee ni Allegro maestoso Music by John Stafford Smith AE = eo sa a 4 gh 2 << can you see, by the davn's ear - ly light, what so proud - ly we anes = —, = = =o aco 2 =} 2 eg hailed at_‘the twi- ligh’s last gleam - ing? Whose broad stripes and bright stars, through the — = + fy = 2 = = =| bw = ——— gee Zt @ oe oe oe per - il - ous fight, o'er the mam - parts we watched were so. gal - lant - ly 5 = SES | = et oe we — = f stieam - 9%, And the rock - e's red glare, the bombs burst - ing ina, gave SS SSS sie @ proof through the night that our flag was sill there, Oh say does that. Star_Span-gled = Ban - ner yet wave o'er the land of the free and the home of the brave? PP ~ ianssimo (play very softy) ff’ ~ fortsimo (olay very loudly) Dynamics, 2 iss ccc oxime sions poe wbes posble tor ad onan ‘NOHL 73. INTERMEZZO SL of16 74, RHYTHM RAP (Te SSS ET |. | 2a3 bag We aes ea oo 75. MORNING STAR Modern See of 76. SONATA Andante grazioso <1 Gracefully 77. RONDEAU Allegro Jean-loseph Mourt per Grace Note —} _Asmalinote or notes] which splayed on,or slighty before the best THEORY 78, JULIET’S WALTZ ‘Tempo dl valse Charles Gounod fF MINOR 79, NATURAL MINOR Practice both upper and lower octaves. scale je f om = == i ee ae ree = = Zz *ae8 = FE, 80, HARMONIC MINOR ae? 81. SORCERER'S APPRENTICE Allegro agitato <1 Agitated Paul Dukas ; — fe fe qi 82. 1 WALK THE ROAD AGAIN Bert SS it we ito oe Be m2 _ a Ho —S i SS a tat an Cae Zz iempo oe eS ee ee Se = Soe eoe 2 83. ESSENTIAL ELEMENTS QUIZ - GREENSLEEVES English folk song Andante Bross18 ¢ MAJOR 84, SCALE AND ARPEGGIO yeep ee % fay 85. EXERCISE IN THIRDS 86. ARPEGGIO STUDY wie ete == soe che g ‘4 Di (Esenharmonie) 89. BALANCE BUILDERoS Black American spirituals originated in the 1700's. As one of the largest categories of true American folk music these melodies were sung and passed on for generations without being written down. Black and white people worked together to publish the fist spiritual collection in 1867, four years after The Emancipation Proclamation was signed into law. 91, SIT DOWN, SISTER Allegro % Black American Spiritual =<| 92. SPINNING SONG - Duet Johann Ellmenreich Moderato % | B A B A B | | nf mp creseQuarter Note Triplets Similar to eighth note triplets where 1 beat is divided into 3 equal notes, 93. RHYTHM RAP Gop S. Pe quarter note triplets divide 2 beets into 3 equal notes. 11 beat divided into 3 notes. 3 1 2beats divided into 3 notes. —3I— 4/1 \d JJ JJ rT 1203 1 P41 ange 38 94, THREE FOR TWO a SSS SSS 95. SURIRAM’S SONG Algo : DE

MAJOR 101. SCALE AND ARPEGGIO Vy step i by ie ~~ 3S Jeb ; z =] i = cre sr Ja oa 2 o 103. ARPEGGIO STUDY - - 104, TWO-PART ETUDE 107. CHORALE Andante A A na vit, nf23 108, GERMAN NATIONAL ANTHEM Maestoso Franz Josef Haydn a aed EE — a a a a ee 109. JOY ‘Andante espressivo <1 Expressively Johann Sebastian Bach ie te er = divea z 3 Time Signature Conducting | \ g a S ! S 5) = Seats permeasute Practice conducting these 3 SEE © caeennegecoeoet tcbeatponen Aor e 110. RHYTHM RAP eve ee JO Wid ey ly 111, LET’S COUNT FIVE Moderato i 2S x ——— ae ee ee ea ae mf fe See24 112, SUKURU ITO African Folk Song Moderato 2 —— is === = Zz woe o we woe nf = = i S = 7 ee =a a 3 - = == = 7 = 2 Soe o English composer George Frideric Handel (1685-1759) lived during the Baroque Period (1600-1750). Water Music was ‘written in honor of Englands King George . The frst performance took place on the Thames River on July 17,1717. Fifty musicians performed the work while floating on a barge. Hand’ lived during the same time as Johann Sebastian Bach, perhaps the most famous Baroque composer. 113. WATER MUSIC ‘Allegro maestoso = Pg George Frideric Handel ~ = = 114, ESSENTIAL TECHNIQUE QUIZ - PICTURES AT AN EXHIBITION Maestaso B= a25 Bb MINOR 115. NATURAL MINOR Ostinato A ciear and distinct musical phrase that is repeated persistently. ‘MOTH =) sritsh composer Gustav Holst (1874-1934 is one of the most widely played composers for concert band today. Many ofhis ae ae cain hs ear milay sates are based on tunel English fok songs. His most famous workfororchesta, The Plants (1916 has Seven movernents—one written for each known planet excluding Earth. Atthi time, Pluto was undiscovered. 117. MARS - Duet/Trio Gustav Holst Energetico with eneray PS = ; 2 mp26 G MAJOR 118. SCALE AND ARPEGGIO Practice both upper and lower octaves. » %, step a Ye == $ 119. EXERCISE IN THIRDS este 120. ARPEGGIO STUDY 122. CHROMATIC SCALE Sse eee wie FS asesenamonis ijipe peer 123. BALANCE BUILDER a al EE z: a2 Z o 7 ave a ‘ 7 5 ¢ le 4 J 1 a Eloy : —— = = = oe 124. CHORALE Andante x f == segs wese[Norwegian composer Edvard Grieg (1843-1907) based much of his music on the folk songs and dances of Norway. During = teases roth centun, composers often used melodies from thelr native land, Tis trend iscaled nationalism. Russian Modeste ‘Mussorgsky (1839-1881), Czech Antonin DvoFak (1841-1904), and Englishmen Sir Edward Elgar (1857-1934) are other s famous composers whose music was influenced by nationalism. 2 125. NORWEGIAN DANCE Edvard Grieg Andante ‘Music written during the Renaissance Period (1430-1600) was often upbeat and dance-tke, Wolsey Wilde was originally = written for the lute. an ancestor to the guitar and the most popular instrument of the Renaissance era. Modern day concert 2 band composer Gordon Jacob used this popular song in his Wiliam Byrd Suite, written as a tribute to English composer g Wiliam Byrd (1543-1623) 127. WOLSEY’S WILDE Animato ~1 Animated, tively Anonymous28 E MINOR 128. NATURAL MINOR Practice both upper and lower octaves. ————~ Seale Ye Vy step Ye, ae 129, HARMONIC MINOR pen seal — -———— srpeggio % an o LEE Native Japanese instruments include the shokuhact bamboo flute played pointing downward the koto, a long zther with 1 _ movable frets layed siting dovin;ancl the gakubina, a pear-shaped lute with strings that ae plucked. These Instruments have $3 _been an important part of Japanese culture since the sth century. Kabuki a lapanese theatrical form that originated in 1603, = remains popularin Japan. Performers play native Japanese instruments during Kabuki performances, 130. SONG OF THE SHAKUHACHI Andante Japanese Folk Song = mp At the D.C. al Cada play again from the begining tothe Indication To Coda @ hen skp tothe D.C. al Coda oie cited ‘@ Coda, meaning ending section.” al Coda Similarto D.C. al Coda, but return to the sign %. 131. POLOVETZIAN DANCES Alexander Borodin D.C.alCoda—_- Coda29 D MAJOR 132. SCALE AND ARPEGGIO psp i % a o A 136. CHORALE — : a Pee eee | oe ae e ee a ad of B MINOR 137. NATURAL MINOR ‘Arpeggio Yastep peagi % % % 138, HARMONIC MINOR Scale % Ye %e %FE __Latin American Music combines the folk music from South and Central America, the Carribean Islands, American Indian, E _Spanlsh,and Portuguese cultures, Melodies ae often accompanied by drums maracas and claves. Latin American music $2 continues toinfluence jaz, classical, and popular styles of music. Cielito Lindo sa Latin American love song. 139, CIELITO LINDO Allegro Fernandez ‘Tchaikovsky, along with Wagner, Brahms, Mendelssohn, and Chopin, helped define the musical era known as the Romantic Period (1825-1900). The’symphonic tone poem’ from this period continues to be one of the most popular musical forms performed by orchestras and bands today. Peter I. Tchaikovsky = — a= 141, THE YOUNG CHEVALIER Scottish % To Coda Jee a a31 G> MAJOR 142. SCALE AND ARPEGGIO Practice both upper ond loweroctaves. % Ye h Veste 5, SS AG (Bhenharmonic) 143, EXERCISE IN THIRDS ae Sjgeaes ane 5 144, ARPEGGIO STUDY 146. CHORALE Andante a ne a E> MINOR 147, NATURAL MINOR DEINDIVIDUAL STUDY - Tuba 149, STRETCHING UP AND DOWN DThack2 ce 150. STUDY IN C MAJOR gy Tacks 151. LEGATO STUDY ‘Andante DTrack4 £ Ei eeeeg CDTracks33 INDIVIDUAL STUDY - Tuba 154, STUDY IN G MAJOR Moderato cDTrack 7 155. EXERCISE IN 12/8 cD Tacks = = ~ Dee se Se f z 157. CHROMATIC CHALLENGE CD Track 10 : SS ig wie! E See sis #ie ° = a34 READING SKILL BUILDERS 158. READING SKILL BUILDER NO. 1 cD Tack 11 ye ae 160. READING SKILL BUILDER NO. 3 SS ioe ES = a = sha Sis rt ; = mare 161, READING SKILL BUILDER NO. 4 CD Track 14 : ee Dees oleae sh eT eS Suet =] of 162. READING SKILL BUILDER NO. 5 te vit, cDTrack 15,35 READING SKILL BUILDERS 163. READING SKILL BUILDER NO. 6 3 cDTrack 16 ot cD Track 18 oe | =? mf : eorack 9 Ie =S= * fmarcaio =. 2 ! oo oe es ee = 2 mp Tigao 25 + S marcato36 167. CHORALE (Prelude from Hansel and Gretel) co rack 20 Engelbert Humperdinck Andante isi Art.by John Higgins og ee 169, CHORALE (Based on a Theme by J. S. Bach) cp track 22 Andante oes7 170. CHORALE (Based on a Theme by Tchaikovsky) cD Tack 22 Brondly el Arby Jahn Higgins 171, CHORALE (Erhalt Uns In Der Wahrheit) co Track 24 Johann Sebastian Bach Arc.by John Higgins Andante ~All | 172, CHORALE (N cotackas John Dyes evan Arr. by John Higgins Andante a 173, CHORALE (Prelude) co Tack 25 Frederic Chopin Adagio ‘Arsby John Higgins@ RHYTHM STUDIES CD Tracks 27-28 ge FR a a fbr dee dl de dd OOOO by ff BOB oy QD A cD Tracks 31-32 z 20 (ee ee ; gL Op dy ede Lda RL 8 oy ety yd dd dh dh 55 séZe RHYTHM STUDIES cD Tracks 37-38 57 58 i Sint i+ Mt pata Jt dhs rs ide te ddd Ty tl te a 64 cD Tracks 39-40 gO hd {TY 1 FTL 1d 7 gO Gy a ane ae eevee ene) eet oe) 92 * gl TA. | GI Bt 101 voz 105 cD Tracks 45-48 gilli ty y 109 no Mm me spd. ST TT ye Sood Td fy dey Ad fy ee de 4 14THE BASICS OF JAZZ STYLE oy iet2l tere Accenting “2 and 4” Trdltona! ca 1s es aadluor I ACRE InBenn eee Hane {and 3 nj nowehes heer phat sual on beats? Mid; phasing" ana gies the musk & oz ean) 174. ACCENTING 2 AND 4 cotacks7 Traditional Jazz Bee > ; 2 A Jazz Articulations f f t f hee Te ene Tenuto Staccato Long Accent Roof Top Accent articulations in ee (allvalue) —_(Ghort-unaceented) ullvalue accented) (short. accented) Swing 8th Notes Sound Different Than They Look In swing the 2nd th note ofeach betis actualy played Ie heat hel of fj-Jto«)] triplet, and slightly accented. 8th notes in swing style are usually played legato. rege ¢ 175. SWING 8TH NOTES coticck 48 Traditional Jazz A A Quarter Notes A A ‘Quarter notes in swing style are usually played detached (staccato) with accents on beats 2 and 4, 176. QUARTERS AND 8THS co track49a \When beats are played early (anticipated) or played late (delayed), the music becomes syncopated. Syncopation makes the music sound "jazzy" Syncopation in Jazz 178. WHEN THE SAINTS GO MARCHING IN - Without Syncopation cDTack51 James Black and Katherine Purvis “Jazzin’ Up” the Melody by Adding Rhythms [Adding rhythms to a melody is another easy way to improvise in a jazz style. Start by filing out long notes with repeated 8th and quarter notes. Remember to swing the 8th notes (play legato and give the upbeats an accent), 180. “JAZZIN’ UP” JINGLE BELLS cD rack 53 Origine Melody 4 Pen A A AA AA AA ioe ql Jazzed Up Melody (rhythms added) MAKE UP YOUR OWN (IMPROVISE) co Tack 5+ 181. LONDON BRIDGE complete the melody in your own jazzed up" woy. Use only the notes shown in parentheses, Original Melody Slashes onthe staf Indicate when o improvise. AA A A A AA A Jazzed Up Melody Band iN Solo Band A Solo & Band A A Solo - complete the melody wePlay major scales as part of your daily practice routine. Play all octaves, keys, and arpeggios at EE MSlor Scale oer rami netowieiboc Wisco A OC es ae & 2 A. 8 c. = timo a Lio oe ee a9 ee #9 182, Bb MAJOR coriacks5 . 183. Eb MAJOR CO Track 56 DTrack 58 — = co43 187, Db MAJOR DTrack6o 188, G MAJOR cD Track6t 189. D MAJOR Track 62 we 2 191, Gb MAJOR CO Track 64i Play minor scales as pat of your daly practice rutin. Pla al octaves ll three forms andthe arpeggios Minor Scales at various dynamic levels and tempos. Keep a steady pulse. Try different articulation patterns, such as: Gna ay Taeory = 192. D MINOR SCALE Natural ww Sie comrackes Melodic =e Arpeggio Harmonic 193. G MINOR SCALE swe TS Harmonic 194, C MINOR SCALE Tracko7 Natucal Melodie s i - Hormenie Arpeasio ; —— ——— . = ne = | see ae "ss 195. F MINOR SCALE Natural Melodic Harmonic45 SPECIAL EXERCISES TUBA LIP SLUR STUDY NO. 1 oom ae SS ooo oe woo ON Eee? o a oe ON tc” = = Ns Se ca Ne a3 LP SLUR STUDY NO. 2 900) ee eo ae Se ee, ts cee : os eos = oe 00046 FINGERING CHART Instrument Care Reminders Before putting your instrument backin its case after playing do the following: + Use the water key to empty water from the instrument, Blow ar through it + Remove the mouthpiece. Once a week, wash the mouthpiece with warm tap water. Ory thoroughly. + Wipe off te instrument witha clean soft cloth, Return the instrument toits case. ‘Tuba valves occasionally need oiling, To oll your valves, simply: + Unscrew the valve at the top of the casing + Liftthe valve hatfvay out of the casing. + Apply a few drops of oll to the exposed metal valve. + Carefully return the valve to its casing. When properly inserted, the top of the valve should easily screwy back into place. Be sure to grease the slides regularly. Your director will recommend special slide grease and valve ol, and will help you apply them when necessary. CAUTION: Ifa slide,a valve or your mouthpiece becomes stuck, ask for help from your band director or music dealer. Special tools should be used to prevent damage to your instrument, © = Open @ = Pressed down Insraren courtesy of Yrnaha Capatation of Amer Band and Orchestre Dion eo er e@00FINGERING CHART ¢ ct Db Gt AD A At B> B o@0 000 ee0 c ct Db D o@e0 900 E F FE G> G = ae OI | o@o 000 coe eeo GE AS At Bb e@00 000 4748 & REFERENCE INDEX Definitions (3; FRANZ JOSEF HAYDN ‘ilegro Agitato 17 + German National Anthem 23 Allegro Marziale 27, GUSTAV HOLST Allegro Vivo 13 + Mars 25 Andante Espressivo 23 ation one Andante Grazioso. 16 eae Animato 27 pce WOLFGANG AMADEUS MOZART DS.alCoda 28 + Sonata 16 Divisi an) 2 MMODESTE MUSSORGSKY Energetico 25 + Great Gate of Kiev 3 5/6 23 + Pictures atan Exhibition 24 Fortissimo (7) 15, JOHANN STRAUSS JR Giocoso 11 Adele’ Song. 7 ieee Noe Ae PETER |. TCHAIKOVSKY So © Wale Fe are (from Symphony No.6) 30 Meter Changes 21 World Music Minor Keys 5 Molto Rit, 8 ean oe 4 + ibuli 20 Ae Sukuru ito 24 Quarter Note Triplets 20 AMERICAN Pianissimo (pp) 15 + Chilren’s Shoes 3 16th Notes and Rests + 1Walkthe Road Again 17 in 6/8,3/8,9/8,12/8 12 + TheKeelRow 7 Tempo Divalse 7 + Keepin’ Secrets 7 38 4 + SitDown Sister 19 Triplets with Rests 11 + Star Spangled Banner 15 178 8 + Turkey inthe Straw 12 Unison (a2) 2 AUSTRALIAN Composers + Austealin FolkSong 5 ENGLISH JOHANN SEBASTIAN BACH ape ee ee Molly Bann 4 ALEXANDER BORODIN + Wolsey's Wilde 27 Polovetzian Dances 28 oe CLAUDE DEBUSSY : Bod ete el) + French National Anthem 27 PAUL DUKAS a + Sorcerer's Apprentice 17 ANTONIN OVORAK * Slavonic Dance No.2 13 + ThePretty Gil 13 JAPANESE Song of the Shakuhachi 28 reac ens + Pavanne 21 MALAYSIAN: CHARLES GOUNOD- je emt, 50nd 20. GEORGE FRIDERIC HANDEL + The Sledgehammer Song 5 + Water Music 24 + The Young Chevalier 30TUBA BOOK 3 SSENTIAL MEE INTERMEDIATE TO ADVANCED STUDIES TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM ¢C. RHODES DON BIERSCHENK ISBN 0-639-084222 Copyright © 2001 by HAL LEGNARD CORPORATION International Copyright Secured All ights Reserved HAL*LEONARD® ORPORATION