BAND TEACHER'S SCORE SOUND INNOVATIONS ENSEMBLE DEVELOPMENT Chorales and Warm-up Exercises for Tone, Technique and Rhythm YOUNG CONCERT BAND Peter BOONSHAFT | chris BERNOTAS WV Chorales by Roland Barrett Chris Bernotas die Blackshaw Matt Conaway Ralph Ford Tyler S. Grant ~ Rob Grice John O'Reilly Robert Sheldon Todd Stalter Randall Standridge Michael Story Scott WatsonContents Long Tones Teachers may use these exercises to foster deep, full breaths using a variety of approaches and techniques. such as exhalation, metered breathing or quick, intense breaths. Through the use of long tones, interspersed with humming and/or singing, students can focus on improving air capacity, breath support, resistance and tone quality, as well as the essential ability to internalize pitch. Passing the Tonic These exercises offer students the opportunity to concentrate on improving their individual characteristic tone and tuning skills as they work to achieve ensemble balance, blend and intonation. Each ine is designed to help students become accustomed to the tonality of the key, develop a cohesive ensemble sound, and work toward stabilizing the pitch as they move the tonic note through various sections of the band. Pitch Matching: Woodwind with Band Accompaniment Playing this exercise fosters correct woodwind ‘embouchure development by having flutes and single reed woodwinds match pitches played by the rest of the band, using only headjoints, mouthpieces, barrels and necks, as indicated, Scale Builder Students can work toward mastering the performance of major and minor scales by building it one note at a time. Each student's part has two lines for these exercises: the top line (A) is the exercise itself, while the bottom line (B) is their part in a harmonized accompaniment. Directors can choose a single student, a section, a family or any other combination of instrumentalists 10 play Lino A while the rest of the ensomble plays Lino B. Interval Builder A variety of diatonic and perfect interval studies are presented to aid students in developing their technique, intonation and tone quality, as well as their ability to internalize pitch. Each student's part has two lines for these exercises: the top line (A) is the exercise itself, while the bottom line (B) is their part in a harmonized accompaniment. Directors can choose a single student, a section, a family, or any other combination of instrumentalists to play Line A while the rest of the ensemble plays Line 8. Expanding Intervals From their staring pitch, students move diatonicaly or chromatically to @ neighboring pitch before returning back to the original pitch. Following that pattem, they gradually increase the distance of that interval each time. These exercises offer a wonderful opportunity to develop the skils of tuning horizontally as well as vertically while attending to balance, blend and intonation Chord Builder In these exercises, intervals and triads are built gradually adding one member of an interval or triad at a time, allowing students to focus on tuning both vertical and horizontal sonorities in a variety of contexts. With & similar focus, students will also gradually subtract members of those sonorities, one member at a time. Moving Chord Tones These exercises begin with each part playing one of the three notes of a triad, Subsequent measures have each part cycle through the other two members of that triad, before arriving back to the original pitch. The goal is for ‘each presentation of the triad to be performed equally well in tune as students practice playing the various members of a triad. Diatonic Harmony By having students move between perfect intervals and diatonic triads, these exercises will foster the skills cof vettcal and horizontal tuning, balance, blend and internalizing pitch. These exercises will also help students better understand common cadences and harmonic progressions. Rhythmic Sounds This exercise allows every member of the band to be part of the percussion section focusing solely on their rhythm and its relationship to the rhythmic subdivision. Students will clap hands, tap a pencil on a stand, pat their leg or make a “Tas” sound with their mouth, performing a rhythmic compositionRhythmic Subdivision These exercises are designed to help students understand and interalize rhythmic subdivision. Each student's part has two lines fr these exercises, a top line (A), and a bottom line (B). Each line provides the rhythmic subdivision of the other part required for rhythmic acouracy. Directors can choose a single student, a section, a family of any other combination of instrumentalists to play Line A while the rest of the ensemble plays Line 8. 5-Note Scale These exercises provide a five-note scale with a drone, Each student's part has two lines: the top line (A), the scale, and the bottom line (B), the drone, to help students develop the skills of vertical and horizontal tuning, balance, blend and internalizing pitch, Directors can choose a single student, a section, a family, or any other combination of instrumentalists to play the scale while the rest of the ensemble plays the drone. Canon: 5-Note Scale These are 5-note scales presented in canonic form. As each successive part ofthe texture enters, students can focus on balance, blend and independence, as well as vertical and horizontal tuning. Canon: 6-Note Scale These are 6-note scales presented in canonic form. As each successive part of the texture enters, students can focus on balance, blend and independence, as well as vertical and horizontal tuning Canon: 8-Note Scale These are B-nole scales presented in canonic form. As each successive part of the texture enters, students can focus on balance, blend and independence, as well aa vertical and horizontal tuning. Chorale: 5-Note Scale These chorales are harmonized 5-note scales. Each student's part has two lines: the top line (A) the scale and the bottom line (B) their part in the chorale. Directors can choose a single student, a section, a family, or any other combination of instrumentalists to play the scale while the rest of the ensemble plays the chorale setting Chorale: 6-Note Scale These chorales are harmonized 6-note scales. Each ‘student's part has two lines: the top line (A) the scale and the bottom line (B) their part in the chorale. Directors can choose a single student, a section, a family, or any other combination of instrumentalists to play the scale while the rest of the ensemble plays the chorale setting Chorale: 8-Note Scale Those chorales aro harmonized 8-note scales. Each student's part has two lines: the top line (A) the scale and the bottom line (B) their part in the chorale. Directors can choose a single student, a section, a family, or any other ‘combination of instrumentalists to play the scale while the rest of the ensemble plays the chorale setting Cho! A variety of chorales, written by some of the most renowned composers of music for young band, provide ‘opportunities for students to develop the essential skills of tone production, blend, balance, intonation, phrasing, dynamics, aticulation, style and musical expression. Fingering Chart Abasie fingering chart has been included at the end of each student book. Though a fingering chart for every instrument is included in the Teacher's Score, due to space limitations, fingering charts for alto clarinet, bassoon and string bass are available as a free download at: wwwallred.com/siod, Scale Practice Pages A scale practice page for each instrument is available as a free download at wwwalfred.com/sied. Full scores for each of these exercises can be found at the back of this Teacher's Score, Each instrument-specitic page includes a chromatic scale, as well as each of the major scales, and all three forms of the minor scales for the keys included in this book. The percussion parts for those pages provide accompaniments to each scale.Table of Contents Concert B> Major 1. Long Tones 2. Passing the Tore 8. Passing the Ton 4. Plich Metching: Woodwind Mouthpiec with Band Accompaniment 5. Seale Builder 6, Scale Builder 17 Expanding Intervals: Datonie 8. Expanding Intorale: Chromatic Interval Builder Diatonic Intervals 10, Interval Buldor Perfect Intonals 11. Chord Builder 12, Chote Buier 19. Moving Ghord Tones. 14. Diatonie Hatmany 15, Diatonie Harmony 16. Rhythmic Sounds 17. Rhythmic Subdivision 18, 5-Note Seale 19, Canon: 5-Note Seale 20, Canon: 6-Note Seale 21. Canan: Note Seale 22. Chorale: Nota Scale 23. Chorale: Note Seale 24, Chorale: @ Nota Seale 25. Chorale: @Note Scale 26. Chorale: Note Scale 21, Chorale by Robert Sheldon « 28. Chorale by John O'Rei... 20. Chorale by Ralph Ford 0, Chorale by Michae! Story, 81. Chorale by Randall D. Stanckidge 92. Chorale by Roland Barat. £38. Chorale by Chrie M. Bernat 34, Chorale by Rob Grice, 85. Chorale by Matt Conaway 86. Chorale by Scott Watson, 817, Chorale by Todd Stater 88, Chorale by Rebert Sheldon 20. Chorale by Ter S. Grant 40. Chorale by Randell D, Standridge. 43, Chorale by Tod Stator 42. Chorale by Michael Story. 43. Chorale by Raloh Ford 44, Chorale by John O'Reilly se 10 12 218 14 is 218 ” 18 19 2-20 21 22 23 2a 26 27 28 29 20 vat 33 34 235 a6 or 38 29 40 a 2 43 45 a” 48 49 50 51 63 ese 45. Chorale by Jodio Blackshaw 46, Chorale by Matt Conaway 47, Choral by Randal D. Stoneridge 148, Chorale by Robert SI 48. Chorale by Chris M. Bernotas 50. Chorale by Roland Barret don Concert G Minor 51, Long Tones 52, Passing the Tore 59, Expanding Interval: Diatoric {4 Interval Builder: Diatoni Iewale 55, Chord Buldor 56. Distonic Harmony 5, Chorale: -Note Scale ‘58, Chorale: Note Scale (Natural Minor) 59. Chorale: 8Note Scale (Harmonic Minot) 660, Chorale by Tyler S. Gran. 61, Chorale by Rob Grice (62, Chorale by Robert Shelcon (62. Chorale by Michael Story. (64. Chorale by Randall. Standtidgo, (65, Chorale by Scott Watson. (66. Chorale by Matt Consveny £7, Chorale by Roland Barrett 68, Chorale by John O'Reilly 668. Chorale by Chris M, Bernotas 70. Chorale by Ralph Ford 71. Chorale by TlerS. Grant 172. Chorale by Jodie Blackshaw Concert E) Major 72. Long Tones 74, Long Tones 75. Passing the Toric 76. Passing the Tonic "7. Seale Builder 178, Seale Bulder. 79. Expanding ntorale: Datorie 180. Expanding Intervals: Chromatic 81, Interval Builder: Distonic Interv {82 Interval Builder: Perfect Intervals 189, Chord Buldor 184, Chord Builder 185, Moving Chord Tones, 186. Diatonie Harmony 54 85 86 87 58 ot 62 63 64 65 66 87 68 6s 7 78 ™ 78 7 278 --80 a 82 23 84 85 26 ae ae 90 1 92 93 94 96 ” 96 = 100, 101 102 103. 104 12 12 2 12 12 12 13 1a 13 13 13 13 13 147, Diatonic Harmony 88, Rhythmic Subdivision 29, SNote Scale 80, Canon: 5.Note Seale 91. Canon: 6-Note Seale 92, Canon: 8 Note Seale 98. Chorale: Note Scale 94, Chorale: &-Noto Seale 95. Chorale: Note Seale 96, Chorale: € Note Seale 97. Chorale: -Note Seale 198. Chorale by Toda 99. Chorale by Michael Story. 100. Chorale by Reb Grice 101. Chorale by Matt Conaway 102. Choral by John O'Reilly 103. Chorale by Seatt Watson 104. Chorale by Roland Barret. 108. Chorale by Ralph Ford 406, Chorale by Rob Grice 107, Chorale by lar S. Grant 108. Chorale by Chris M, Bemotas. 109, Chorale by Robert Sheldon 110. Chorale by Todd Stator 114. Chorale by Jodie Blackshaw 1112. Chorale by Matt Conaway 118. Chorale by Tor S. Gran. 114, Chorale by John O'Reily 115. Chorale by Michael Story 116. Chorale by Todd Stator 117, Chorale by Randell D, Standidge... 118. Chorale arranged by Seatt Wateon 119. Chorale by Jodie Blackohaw 120. Chorale by Chris M. Bernat. 124. Chorale by Matt Conaway Concert ¢ Minor 122. Long Tones 123, Passing the Tonic 124, Expanding Intorale:Diatoie. 125. Interval Builder: Diatoni Intervals 126. Chord Builder 12, Distonic Harmony 128, Chorale: -Note Seale - 129. Chorale: &-Note Scale (Natural Minot) 180, Chorale: &-Note Scale (Harmonie Mino? 191. Chorale by Ter. Grant 192. Choral by Rob Grice 183. Chorale by Ralph Ford 194, Chorale by Robert Sheldon 195. Chorale by Michael Story. 105. 106. 107. 108 109. 110. tt 112 nna 114 116. 118. 120 122. 128 124 126. 126. 127 126. 129. 130. 131 132 194 195 197. 138 140. 141 142. 143. 148. 146. 147. 148 us 180 151 152. 183 154. 156. 186 158 159 160. 162. 163. 4 4 1“ 4 “4 18 16 18 18 18 16 16 16 16 16 16 16 16 7 w ” wW ” " w "7 18 18 18 18 18 18 18 18 19 19 19 19 19 19 19 20 20 20 20 20 20 20 196, Chorale by Soott Watson 197 Chota by Matt Conaway 198, Chorale by Rob Grice 120. Chorale by Chis M. Bernotas. 140, Chorale by Randall D. Standrdge 141. Chorale by Jodie Blackehaw 142, Chorale by Roland Barret 1148, Chorale by John OReilly Concert F Major 144, Passing the Tonic 148, Expanding Intervals: Chromatic. 146. Chord Buider 147 Diatonie Harmony 148, Chorale: 6Note Seale. 149. Choral by Rob Grice 150. Chorale by Ralph Ford 181. Chorale by Scott Watson 182, Chorale by Randall D. Standiidge 159, Chorale by John O'Reilly 154, Chorale by Roland Barcett 155. Chorale aranged by Tod Star Concert D Minor 186, Passing the Tonic 187 Chord Builder 188, Distonic Harmony 189, Chorale: Note Seale (Harmanie Mina). 160, Chorale by Roland Barrett, 161. Chorale by Rabert Sheldon, 162, Chorale by Todd Staker. 168, Chorale by Scott Watson 164, Chonae by Micha Story. 165, Chorale by Ralph Ford 166. Choral by Tyler 8. Grant. 167, Chorale by Jodie Blackshaw Scales Concert Bb Major Concert G Natura Minor Concert G Harmenie Minor Concert G Melodic Minor Concert Eb Major Concert © Natural Minor ‘Concert © Harmonie Minor Concert © Melodie Miner. Concert F Major. Concert D Natural Minor Concert Harmonic Minar. Concert D Malodie Minor ‘Concert Bb Chromatic. 166. 167 168, 160. 170. a 172 178 174 178. 176. v7. 178 179 120. tar 189. 184, 186. 186. 188. 198. = 190, 191 192. 198, 194, 196. 197. 198. ++ 200, 202 = 208, 208 208 208 207 208 +208 2210 au 212 218 24 218 21 21 21 21 21 21 21 2 22 22 22 22 22 22 20 22 23 23 23 2a 2a 2a 23 23 24 24 24 24 24 24 24 24Fuob ase" Toes Benie. Taba Mis LONG TONES (eer rie = ss a SSF so a wt ia'ts = Ss == ea SSS I6*1. = = ss ea, Pj, pe a4. = == i=—=5 ea = oe ns Do edt es ia = © - oe . oe air o oon Ly mo . nn Ros i. J Lh Ji» ee = atte SSS Pw . Jae = =s Ast CariesFuob e. A Sax T.S00 ase Bemis. Tus PASSING THE TONIC pea ln teens x ple. ae Dias Lid ag toto Lith a == 7 O48, —— —= bas : Bits = = == er o- |. 7 = =e : a4. = = ——5 en _ __|a “aS 3 z 3 : Bi, : : enFuob e. A Sax T.S00 ase Bemis. Tus PASSING THE TONIC an — . ri . ioe . 4 = oe 2 - 2 - o atte a a a i == oy = EE 3 = * = ets . a = = ce ——} ——5 = t4 4 = ea ys J pase Fa Oe one —- sm hy : , TT Hay H ap = - er bey aaFuob a asm Tubs Pare. PITCH MATCHING: WOODWIND MOUTHPIECES WITH BAND ACCOMPANIMENT ® lates shoul match the itch nthe heajint lone. + atnets/Bas Cline should match thepitchon he mouthpee and arte oi = a 2 a a — 5 eo fof tt ei - fj. jt 2 2 2 a $ : £ 2 of a - 2 FE pi. 2 os aa: sj 2 £ a—| 2 | ety ee eS 7 ee as = . = io in s ayo 3s 8 a | ss . . - = is z Bet # = 5 = = te = r bye gee fe) |alp aud aed ed det err re Cyt cy oye oe Porro qt cyt rit cit rp es ga ee 2 segs 8 iB “ 18 ° {Alto an enc Saoghane shuld match the ich nthe mouthpiece and neck, + Obue and Bassoon should play on the nsument sua, ‘5 Bartone Satophoe should match he pth on he outhieealone.SCALE BUILDER bry dd dai st Pa We ete ait rr 4, === dae Bas tle yy le by ste ty 6s a a wo errr roe gas jit a gis 9 pb as ds et Ss Jats ee Je pd 19 wp pase Plc at rb ope a6 eb Pag Sg yyy ey Se Gey 5 . 2 - o od pla). | (Ole. |. lu Re alp a> heey wea Bip a A mT ee tee * i re eee Dis Js SSS SSS “Thsisan advanced optional saredun pat appears invarows exercises thoughout ebook. In stdert books appears Line, wth ereguarsnare pat as LineUne oe. ac. Asan Tia /tars Tubs te opt Ad SD. Pare.1 Pore. 2 Trapanl SCALE BUILDER Jeter ete 4 c= ebe pe : = bapa ye dd —————— = ——e Jaa. = 5 5 = oa. = J i==— et os a f= = : pte pte er . — = = or i + o ae yok — pte E SS ae . i is = . > Z - a a . PB Misi nny domi. pyle dee biptuteea pg CETTE eb he vrs 2 =e SS freee eeicteend pasteFuob a. 1.80 Toston Ben's. Tuba Pate.4 EXPANDING INTERVALS: DIATONIC ea a oe ee ee ee ee ——= Ve J J z = == ate 2 —- Le gat foe tr tft tor te fe fe ie fe pe SI. eS ——= ee 4 = i jz 3 3 2 loueg- 2 2 Jy = pH pd pe jy = ea i 7 Jp S84 B RB re ae PR RF Por ttt Fi att EP pst a SS ee med dd yd ipFuob a. 1.80 Toston Ben's. Tuba Pate.4 EXPANDING INTERVALS: CHROMATIC art f i rit a ae ace Jb 2S Bie tp wre bat te ie te fr pte ae = Brae ia ZI te = Gta as 7 ee bpd = : ets ad caer rg @ fee Josey ey SS = PYES d ad Pd Pp tS Bs id oo te ey ® ) J Jalal ie tbe aT b TP, ” % # * * x fe ae" = JH te 4s a oft od te ° Ee = Ad odLine A a Asan Te Fin Bmniss. Tuba opt Aa 8. Pare. ee ss = S43 =: I6*4- = -—f Fr ihe ery tp fp et, : = =F eae: —— é ye * j te Ia = = = b Ay fs I ers - —— aye e =: Peasy te = i Fe on Ss feet eee gal ay ee bapa ae it le | 2 ote 2 6 ff 4 da Pees > = SSOpt Ad 8 Pate.4 Pore. 2 INTERVAL BUILDER: PERFECT INTERVALS, 7 T+ 4 a4 4 4 4 f Efe fe = = te aS é = = im y fi f = F fas + o F o o ° ° = rl, a 7 if F [Db t on = = = We OJ a nw ge te dt dd ed ee ee ate i ee 0 en ee mae REE EEE Pep ey Dae fig i i et et at Deby =: 2 J 7 o 2 o oon CHORD BUILDER Fics oi et Ft r a 6a —— oo jo eo Asa ata 4 EI i Tse a ° F y J 2 ose AES = ies ° 7 i SNe BEES = F = = Tbe DE 7 ? EES = J et pss fe rie coc pee ee Dl ee Le ae rr ryt fF * roti ppl pads dt fd fled pay. dia ts [PP I12 CHORD BUILDER no 1B opt ac a4 = —— = == = ; roe HG . ht z “oS # a : Tube Dy = 4 - ney = hy ss dU Le PP ft tt rrr + x tadd coc fe pee ee +I) rrr Hy» LL, Ton Jaa SS SS SS ae pa = HealFuob e. A Sax T.S00 ase MOVING CHORD TONES et Crt Io 4. = ° > iit 4 o ¥ o eed o et = rrr eas . tre fe Bits iid e146 . aS a4. ° fad lowes = zs iS ae . : = a aa Ge . iia |e bye He dm ib eed abe - oro oP PP Ptr or tit tare tt i pi dd ed a fe ee gers (a 8 g a2 8 Ps = > = zit teFuob a. 1.80 Toston Ben's. Tuba Pate.4 DIATONIC HARMONY Oa 7 a 2 oe ia 7 . s = z “Je = ea oe . = . * . = fo ° et ft fs — = . 7 == = = ye o [Ps = = == = ° : Phe |e = . eR Stee aaa tren trffierer fre flerceeite= pepe ess i ke gi : a eee mes ideFuob e. A Sax T.S00 ase Bemis. Tus DIATONIC HARMONY & £ E z z z a : - ———= = 5 = iante f o Ze a zi ie fF po pp aia z # Fe 4 ie # ei, I di = i 4 ae J = rf = J E z Ly z Ee SS Se er i + bee re ee eee Ped pe tet be Pep ber pee pep + = =e peop be RE Pts le Ib ggAsan 1.80 ese RHYTHMIC SOUNDS QO oo oo) Ap J dod le ad fe ta Dy Gre td ta a da gee a a a a | boyy bly Lily dda | Lily po tt He Js2 | yp fe en, Oo Oo, oo, LL, ert por OF mF eT pop Pp ye pF ttt PF J i i J ‘bad J = This exercise allows every member ofthe band tobe par of the percussion section, fecusing soley on thee rhythm and ts relationship tothe hythmic subdivision. 2Fu, RHYTHMIC SUBDIVISION (et = SS as peas adds dyed Es dp yee IQ’ ee pie ¢ poror pop pie pee ie JG te dS SSS Btssih 3 Vas Wo alias SSS SSS Sear SS SS SS eS eee 5 2 adie o edie ee ee Jere eso PS Ss SF SS SS SSS pear fable fF FRE JF FR RRR SPS PS A ea Oty slsp os Wes jp vileevel giittsliistiy dood dist a art rr fifo rT OTH a SS SS SS BAe erie batt SSS SSS-NOTE SCALE ferrs : 4 Ss = lot 7 = ot, = = ae ai. a z ana DOTS pte o o " a ea 0 in Po n19 CANON: 5-NOTE SCALE Fuob —— eo Way gpd ey a | oe Se ads ae GEA — ree IB Se ite —— ss ip ee La a ed sae = — —, Tube Dep SS SSS wr PP aL ey ey Lay * q e * y eh wa ° ee ow ee ae .20 CANON: 6-NOTE SCALE noe (OST f f E a bao - oy pd doe yy roe iG a = lp fp ip tf of FOP re eg FHn - i } | as f f ° aa pa = = SS | ° ws 7 “Tp yp i Uo gy 4 mH ed vow ly “Pode dies sis ded ll. woe hE pd id (Pts ste a ds arr ee Sd pied26 21 Fuob a. Asan 1.80 Toston Ben's. Tuba Pate.4 Timpani CANON: 8-NOTE SCALE ee = SEs GS pt SS SSS aig =} jpP ok fhe ip ppd pee te pt pp pe Qty = = i pe op ei op pip Se SSS = =H dotd pt 44 a Se eee - a BES ee eps SS Ste a SpbSOU LER GG ae Ho Ho art rr irr ir ry root oir fire ee aT. dp te by i= Ss a eer py =a iti pp ie22 CHORALE: 5-NOTE SCALE Give M, Bomotas (ASCAP) en : , Paha 5 i | pon GS pe ° It =F SS sa Ba = J SS a vee gs r Ss ve TOES SS wow flow ppp pt vo = ps H || ro 7 af i in ‘| i secon . L _ ft rove ds i r i Timp Deh - = J = » me oor bot elt pp eg Tp gd ge . ea ge eet $ YP = f E - j =23 CHORALE: 5-NOTE SCALE Give M, Bomotas (ASCAP) Lino pred ce nie BES 2 ee o. I64y = ate 2 td J / 3 t i i= se JSS Fe oo42 — z J A rey [aE = £ A ——e = al ala wall wl Pil a > ale) > a et SS SSS onmaso fa G04 1/01, J |S I | aml |i ys pee noite e ce See IL AL ST, 24? ae rT it rr r pore Pow 2 lw MM : a i Lit |j J J 4 ? J : J 7 C cmt cm Dm a ee (aa a ' 2 Pe 28 Fate ES = £ aa «al RL24 Une oe. ac. Asan Fin bars Tubs te opt Ad SD. Pere. Pare. 2 CHORALE: 6-NOTE SCALE (Chris M, Bernotas (ASCAP) oy i = i 2930 25 Uno ors Tuba Pate. CHORALE: 8-NOTE SCALE Ova, Bete ASCAR oe . — my gg Hak ple ey | ee aS ‘ et i SS ets yy j ats pF = 8 a a Bis ee ee ee j Ia — oe eee 3 4 te 4 pee itp ep ie ite pd rt pe eg ier, 5 oe a 4 2 fe eels # + Zz = 4 ) pou sy Pop a aff if tf iff it tt ittr irr qt fr * hae 4 x x x x x xls ose eS tS ba ere i fi = tet | at od 4 ud 426 CHORALE: 8-NOTE SCALE Give M, Bomotas (ASCAP) errs i Dry 4 4 4 4 3 q 4 4 3 3 we Ber RR for tre a i —— Be jd 4 fd Aso rip A 4d hoe j j j 2 8. Sax —<— J 2 Tet j J j J vs i bo 3 sag ppvae rif tp SS tum fc Pt SS j ; me er 4 J d - SF - ouamer te good 1 1 [rid J J oo od) ys rrr pect — [fd 42 4 J J ft tt ar f iit ror itt F owe tp al i+! | i pai sis Tevpai A vow Spa32 ac Ase Teles Tub ts Opt Ae 8b. 2 : ep 4 - 2 4 | 2. s 3 3 3 4 = (SS es d 3 : = ge ot He j ae : ae f foe of j J8 ig — = SSS é ro SSE j = = ae — - bo. Jos dd oe be dO) DEP F role tt = SS = SS ey as SS ode da : Wi Os lb oss ms 5 li, > ly de ad dt F f F F f f g J J J 1 ° 1 f f f } . —— . 2 (ee F tr f ff a ww? Ft __ft 2 SS s27 CHORALE Robert Sheldon (ASCAP) ob a 2 =F aE j voy a Pp 3 8.0. Io 4. } 5 ~ 5 Ase a ie = rods ped ve Oe SS] ro ¥ Boe aes ° roe p of oe pie ot SSS SSS : ae = I rim Hogs = pod je ep = = wey pow. t J = £ pf £ a eh JS g 4 4p SL ye 7 wm (G4 J pp pd We a 3 meme apap apa ge ¥ toe fy = = |e Lt . . wa +» ————by ros oye 7 = : = z + at iy ; ee fe . os . _ DEES = jp i :34 28 Fuob o Aux 1.8 Bemis. Tubs Timpani Piano CHORALE John Olly (ASCAP) ert oT =i Et ets I es Se Ia45 ae: J ——— 7 Bite red pp dts os ” Bie rte e f fhe =a ” : He = == ia SSS Ses Jp tie + Gi sie jp eed ee ee ip ip we oe ers Jet = Moye b gE EP i a OA, Li y ela. SS Spee eee RH af ro TF iomeniont sents ad. : | eee st Poke a f = ft - S Gas ep EPs fate 3 ” Hw pts == 2S rs29 Ralph Ford (ASCAP) an = SSS 7 == o 2 See 2 = a6 J dip ai dsp ilps ne _ ——P se J SSS SSS SSS Se -—=- = 15a SS ae ot ~tos nd ——P ee ra ips = te A HSS SS |: : 4 Fin 3 sai = i ols f ste, rrr otpip ope id epi e me = SS SS ~ ~~ — —P Mio eo delp pele lad id yell 2 fo ” ue JASE SS fr tt rift 7 ows fate | pele 2 | pte | If peh TP Ib q Tipe ee 7’ 2 deg ase de degad 2m — Vine , ope 7 Ein SSS36 30 Fuob oi Aux 1.8 Bemis. Tubs Timpani Piano (cs oie frre Pops i bali eel) ees jl eed = Ia45 See SSS 3 Boe ee gt | Gap rt irrr inert potter ie tte y eas Sis eer SSeS gi 2 pode ; 7” wv era Li ee a Be tae 1S Prt te Wi 7 J 3 Oiled Wayl eg fais dd | pee He STITT Peat wd |. 14 Ly 1d, Pap fitter drt bere ft ls loys JH =f Lid y = 2 | f f °31 CHORALE Randal D Standridge(ASCAP) woe (troy pert <——— ¥ == =—oeE “ ee eS SSS é 7 ——— & aa. a4 J ZF S555 + 4 = ea 2 ase ep re Se 5 "ow ‘ | —— |v vee Gt SS ies ve —= + — te NB pie 7 “Ere Fer ™ SSS SS Se +4 . = wee te SS pa ” —_ |; —— lv may pers pe Seer 7 ey ttre Tab Pot J J dé ji Jj Sas j v — f —=— + ts a SS === SS 7 = - Ec vit Laas 3 yoome ete peepee d roe fle gd 11 | tL) aii wom PTS = SS SSS SS f v rp et ed 4 ? rryre orf if trr iret ttt tt a 7 Tir | ret opt ad [pd d fed ds is of ied ids 3 = i