CONDUCTOR WARM-UPS AND BEYOND A Comprehensive Rehearsal Book for Developing Bands BY TIMOTHY LOEST with Percussion By Kevin Lepper Production: Frank and Geil Hackinson Production Coordinator: Philip Groeber Editor: Dr. Deborah A. Sheldon Cover & llustations: Teepstra Design, San Francisco Engraving: Tempo Music Press, ne Printer: Tempo Music Press, In. THE MUSIC COMPANY Copyright © 2009 by THE HH MUSIC COMPANY INC 2525 Devo food Suite 360, For Levderdele, Frida 39917-7424 Inerncionol Coppight Secured. Modein USA. Al Rights Rete WARNING: The maf, design and graphics nis plication oe pleted by copyright law ‘ay diphoatn ean inkingement of U.S. copyright owTable of Contents Part 1 Baste Warm-ups Concert C Major ... Concert A Minor Concert F Major Concert D Minor Concert Bb Major Concert G Minor Concert Eb Major Concert C Minor Concert Ab Major Concert F Minor Part 2— Advanced Warm-ups .. Concert C Major Concert A Minor Concert F Major .... Concert D Minor .. Concert Bb Major Concert G Minor .... Concert Eb Major... Concert C Minor .. Concert Ab Major Concert F Minor .. Part 3 Key Change Studies Concert C to F Major ...-.-.+++ Concert F to Bb Major ....... Concert Bb to B> Major Concert Eb to.Ab Major ......- Part 4 Articulation Studies .. Studies 1-5 Studies 6-10 Part 5 - Flexibility Studies Glossary .. Appendices ...... Fingering Charts Conductor a 4 10. 17. 23 0 36. B.. 49, 62 69. 70 2B 86, 93. -101 109. 47 125 133 ML 149. -150 156 + 162. 167 172, -179. 185, 192, 210, aicios Student PagePart 1 - Basic Warm-ups ‘This section of the book will take you through five major key signatures and their relative minors. Each relative minor key shares the same key signature with its related major key, but begins and ends on the note found a major sixth above (or minor third below) the tonic (home tone) pitch of the major key. For example, ifthe major key is C, the relative minor would be A minor. You will rehearse these keys in the following format: 1. Major/Minor Fives (quarter notes) ~ This exercise moves up and down the first five notes, of each scale, followed by an arpeggio (scale tones 1-3-5 ~3 1). 2, Major/Minor Fives (eighth notes) ~This is the same exercise as No. 1 using eighth notes Instead of quarter notes. 3, Thirds — Using the first five notes of the scale, this exercise will move up and down by thirds (moving by skip rather than by step). 4, Expanding Intervals ~ On the ascending part of this exercise, notes after the repeated tonic home tone) grow in interval (space between notes). On the descending part ofthis exercise, the dominant tone (the fifth scale tone) is repeated as the descending notes grow in interval, Only the first five notes of the scale are used. 5, Percussion Feature, 6, Follow the Leader ~ This exercise uses the first five notes of the scale and moves by step. Soloists or sections play first and are then echoed by the band. Everyone plays in unison and octaves in the last two or four measures. Drum parts have been written to develop stick control, accents, dynamics, and rudiments such as the ‘lam, flam tap, and buzz. or multiple bounce roll. Use the piston stroke, and try to become familiar with both sticking systems: right-hand lead (REL) and rudimental (RUD). As always, read your parts carefully, and pay attention to all ofthe directions that the composers and your director give you. Watch your conductor as the dynamics and time signatures change. Breathe where the breath marks are indicated and maintain good breath support for a clear sound, Basic Warm-ups Key Challenge laying by earis an important skill for all performing musicians. Once you have gone through Part 1, ‘you will really know the format well. Challenge yourself to try a few additional keys. You can do this by ‘ear with the help of your director. For example, select concert Db major or concert G major. Make the transposition for your instrument to figure out what your key will be. Review the flat or sharp notes that you will need and consult your fingering chart if necessary. Play the tonic or home tone, then sing up the first five notes of the scale (do - re - mi- fa - sol). Sing back down to the tonic note, then find the second note of the scale on your instrument. Continue in the same way until you have found all five notes. Once you have learned these new notes by ear, you will be ready to apply them to the exercises found in Part 1. BB20308Concert C Major Student Page 3 1. Major Fives - Quarter Notes ea meeeio awe nf aso B Clarinet 1h ass Carnet Hate Saropiene By Tenor saxophone Eb Baritone Sexophone Bb Trumpet F Horn Barto phon Tabs Mallets Pereution ‘BB203¢8Student Page 3 2. Major Fives - Eighth Notes wale Ba, san Rise Tn. Bans Eup The ve Concert C Major + apestio BB20308Concert C Major Student Page 3 ‘c= cule buns . na o 7 a i - - . ee2cacs:Student Page 3 Concert C Major 4, Expanding Intervals on. Ra Bsa. th. ars ph. BB203C8,Concert C Major Student Page 3 4, Expanding Intervals cont. Ba. Ase Bsa, Bars Epi. ‘Taba ten and wate crflly athe perusion eton pays. mm aS pa ay SEP a Oty me | tt + 7 i i i E 5 oe Ba203Cs,Concert C Major Student Page 3 sola solos ad 6. Follow the Leader ‘elt a Asan Ten, sas. Te Euph. ‘TabaStudent Page 4 Concert A Minor 10 1. Minor Fives - Quarter Notes upegeio vale FL of on. Ro. Asan, Tse. Bsa. . acs eaph, nee Pers. ‘BB20308Student Page 4 2. Minor Fives - Eighth Notes seal Re Asan. Tse Bsus me ard Eup. ‘Taha Pere. mp Concert A Minor aveecio BB20308 rTStudent Page 4 or Concert A 3. Thirds a ne San Tse. Th. Eup ‘Tobe ts, 2s buz or mle ounce Ba2030s,Student Page 4 on. nal A.Sax rsa. Sex. ass Eph. Tita 4, Expanding Intervals Concert A Minor B E2038,ig on. Ra Asa. san, Bsa Bass Esp. Tha as Concert A Minor 4, Expanding Intervals cont. f a for erate eee ee Student Page 4 ee 5. Percussion Feature ABumpy RideSmooths Out e REEL Te pL GE tig eee eee ee i zt si 3Student Page 4 Concert A Minor 7 6. Follow the Leader sna ae = nfStudent Page 4 Or Concert A 16 6. Follow the Leader cont. a0 tnd soln FL on, ac. Asa Tas. Te. Ton, ‘The ‘BB203087 Concert F Major Siudent Page 5 ame 1. Major Fives - Quarter Notes HL on. Baw a na Asm Tan Bisex Te me Teo. Band ap ‘Tuba Mis, Par pagaacs:a na TS Th The. as Eu a. 2. Major Fives - Eighth Notes vale Concert F Major Student Page19 Concert F Major Student Page 5 3. Thirds a Asan Tee. Basa. we ars epi ‘Tobe tf Pere, £ buzz or multe bounce BB20308,Concert F Major Student Page 5 4. Expanding Intervals rn. on. oe Ra Tan Bars Pap. Me. exreleceeleeee|seneleres [ean fees BBz0308,Student Page 5 eu. Ra. Tax Sen Te ard Eaph Taba ere, af Concert F Major 5. Percussion Feature EEE at Pounce an Listen and watch carly a the pression ton ply. z to Petbtht: EEEEEitE Guta sae poet eese te Sa eee tot tt ae a 13820308,Student Page 5 Concert F Major tnd sala solo 6. Follow the Leader solos band fn 6 Ase, Tse Bisex Te Bn Th. aes ‘Toba Pere. die Rate: Fa and Pla Tap BB20308,or Concert D Student Page 6 + seo 1. Minor Fives - Quarter Notes sale of Sec er Url sh Os he Cs4 2. Minor Fives - Eighth Notes eile ac. Asan Tse, Bsa, fer! Eup. Rudiente Fis an Fam Tap 1BB20808 Concert D Minor aio Student Page 65 or Concert D Student Page 6 3. Thirds é Ba Asa, san BSex. ‘ars Toph ‘Taha% Concert D Minor Student Page 6 4. Expanding Intervals on. Ra. Asan Tan, Ban Th. Bard Ep Tea P eeue|[ageeieearisperjerne leper l[oeen lege Ba203¢8,Student Page 6 ov. Ra. Ls Risen ari up. ‘Tube 4, Expanding Intervals cont. 5. Percussion Feature Houston, Are You Really There? Concert D Minor = 7 * Listen and watch carefully as the percussion section plays. Sai Smeets ee ————=— Be203C82 6. Follow the Leader ‘lai, mt ond Concert D Minor solo and ‘Student Page 6or Concert D Student Page 6 ‘BB20808,~ Concert Bb Major Student Page 1. Major Fives - Quarter Notes ‘le cd mf Bo, Asan, Tsu. Th ars Eph. Tube ‘BB20808,Student Page 7 2. Major Fives - Eighth Notes on. a Ts Te ‘ans Hap. Pere, Concert Bb Major 3Student Page 7 Concert B> Major 3. Thirds ov. Ba Tas Bsa Ts. bars Eph. ‘Tobe Ms, Pers. 2:ebuzz or multiple bounce aazoacs.Student Page 7 4, Expanding Intervals on. Concert B> Major na Asan sas. Bsa Beri api ‘Tube 33Concert Bb Major Student Page 7 4, Expanding Intervals cont. A on, aa Ase: san Bs Tho. Bas! op PE t faeces ters ee ee + 5, Percussion Feature ae Tinga Warp Soe ane ae nm ee Ahly ; rt -Student Page 7 6. Follow the Leader solo band AL mf AS Sar, Rs Bas Exph. ‘Tabs ot Bae ylil, ‘odie: Flam and aw Tap Concert Bb Major clos ant solos P ‘and BB20305,36 no. Asx, Tsu. bars Ep ‘Taba BB20308, Concert G Minor Studlent Page 8 1. Minor Fives - Quarter Notes ae mf scale sspeezio ft oe i o ¥Student Page 8 Concert G Minor 37 2. Minor Fives - Eighth Notes vee Sex sax.Student Page 8 Concert G Minor 38 3. Thirds =z oc itl ounce pe03cs,Student Page 8 4, Expanding Intervals on. Concert G Minor na Ts Bsa Tht The. aed Eph vm, 340 A na Asan. Tse ‘nar Bop Toba Pere, Concert G Minor Student Page 8 4, Expanding Intervals cont. oo 4 ee 4 + aor cas 5, Percussion Feature “The Suspense Builds Listen and watch carefilly asthe percussion section plays. Qpreiirei: Prrerereces! ESSERE 1 Getta LL Coe or pL or = ———= “F —==Student Pege 8 6. Follow the Leader solos nf ana Concert G Minor 41 BB20308,6. Follow the Leader cont. seloto Bo Ase, Sa Bax. ars Eup. Ba20308 and Concert G Minor Student Page 8ce) Concert E> Major Student Page 9 BB20308, »spetsio yf of veale 1, Major Fives - Quarter Notes BR on. Ben a Ba Sex Tse Sex pe Ha, Th. ars Eph Toba ts. Pers.Concert E> Major Student Page 9 2. Major Fives - Eighth Notes seale + sEsio Rudiments Fn nd Fam Tap pe2cacs:BB20308, Concert E> Major 3. Thirds srebuz oe mule bounce Student Page 9 A ov. bon a na Asan Tax Bsa Te He The. aed Eup Tabs as, Pers.Concert E> Major Student Page 9 4, Expanding Intervals a Re. Ts Ts ars Eph. Tab sas. Pere. Ba203cs47 Concert E> Major Student Page 9 a g Ase, Tsar, Rss. TH anh. Taba Pere. the percussion section plays. get wad Fe peciaeevilee ls he A: |p20acsStudent Page 9 Concert E> Major ed relat sloth aa 6. Follow the Leader solo 'BB20308,a Concert C Minor Student Page 10 : g z 3 5 if a £3 s 2 eel rrmertrs—Os ‘Tube50 A Ban, a. Tes. Bases. Teo. bari Baph. 2, Minor Fives - Eighth Notes see Concert C Minor measio Student Page 10St Concert C Minor Student Page 10 Ba @ 2 2 Tse Rs Th. pars Eup. Tobe 8520808 = bar or mile bounceo Concert C Minor Student Page 10 4, Expanding Intervals A a. no. Tse. Se. Te. Ban Ear ‘Tobe ts, BB2030,Student Page 10 Concert C Minor | Bo. Ase Tse Rasa. Tet Tubs (i eocaueottiee watch carly athe percuson section plas a ‘waa Per. EEE a ms anon, Ba, Tse Basa. and Eup. ‘Toba ‘8820908 6, Follow the Leader ssi Concert C Minor sett Student Page 10or Concert C Student Page 10 on. Ben. a pa Toe iY # 2 Bard Een ‘Tab ms,a. Ra, San Toes, Bsn Tha. ap. Taha ms ‘BB203cs 1. Major Fives - Quarter Notes ‘ele of Concert Ab Major + sPessio Student Page 11Student Page 11 on. Ro Te Bsa pe Tho. Pay Taha ke 2. Major Fives - Eighth Notes seal Radiment Fam"? Concert Ab Major + seo ‘BB20308Student Page 11 Concert Ab Major 3. Thirds é é c na, Tse, B sax aes ak. ‘Tube Mn. Pere. rete origi bounce BB20308,Student Page 11 4, Expanding Intervals Concert Ab Major Asa Ten. Bsa. he The. ary ap. 59& Concert Ab Major Dania ee 4, Expanding Intervals cont. on. a Ra. Asa, sae, Bsa, and api. Mis, Pers, oot A renee ak ak be beh S. heck eS = EBSA BREE a = sr 20308Concert Ab Major Student Page 11 an salsa slit and 6. Follow the Leader sell f on, a Asan, Tse Bisex. Ear ‘Taha ne, Pere. 2030,Student Page 12 or Concert F xveasio 1, Minor Fives - Quarter Notes seal f a Te in. Tm. Bers Eph. é na Assan Bsa. an ‘Toba Pars. BB20308,Student Page 12 on. mee Ase, Ts aed ap Tube 2. Minor Fives - Eighth Notes veale =P Rodineat: am Concert F Minor BB20308,Student Page 12 Concert F Minor 64 3. Thirds a na Bsa we Ton, Bars Eph. Taha , ZL = zz or mule bouce BB20308.Student Page 12 4, Expanding Intervals na Sax sa Bases aed Eph. Tea Concert F Minor oConcert F Minor Student Page 12 4, Expanding Intervals cont. FL on, a Be Ta. Bsa, Te Bend api of 5. Percussion Feature ‘A Landing Celebration Listen and watch carefully as the percussion section plays. bah jh Co. hee ee he he. 2 Fee, Stage h aap yA att yh fe a — ae ee : ff = ae ap202csConcert F Minor Student Page 12 aod slot, 6. Follow the Leader soi om. san Bisex. ars Eph. Tere BB20305,] Concert F Minor Student Page 12 6. Follow the Leader cont, sell td a 6 2 on. na. Asa slot ad ‘i Te Bers Euph. E2030nt Page 13 © Part 2 - Advanced Warm-ups In this section, you will review the keys from Part 1 while learning some new concepts presented, in the following format 1. Major/Hlarmonic Minor Scales and Arpeggios (quarter notes) ~ In Part 1, you focused on. the first five notes of each scale. In Part 2, you will work on the entire seale, followed by an ‘arpeggio that now reaches to the top of the scale before descending (1-3-5 ~8-5~ 3-1). 2. Majot/Harmonic Minor Scales and Arpeggios (cighth notes) ~This is the same exercise as No. 1 using eighth notes instead of quarter notes, 3, Majot/ Harmonic Minor Chords ~The first thing you will notice in this exercise is the pyramid icon, The pyramid reminds you to listen carefully and pay close attention to balance. Go to page 33 to learn more about ensemble balance using the Balance Pyramid. There is afermata at the end of these chord progressions. Notice the Roman numerals in this exercise; these indicate the kind of chord that you will hear. 4. Thirds ~This exercise is similar to the Thirds exercise in Part I but uses eighth notes instead of quarter notes. 5, Percussion Feature. 6, Chromatic Pivot Scale ~This exercise is similar to the Expanding Intervals exercise in Part 1 but uses only descending chromatic notes. You should review the sharps and flats needed {or this exercise before you play (see accidentals in the Glossary on page 33). 7. Chromatic Scale ~ These scales go up and down using half steps. Because a key signature is not necessary to play each scale, you will see the following reminder: No key signature! Review the accidentals in your scale and consult your fingering chart if needed. You may also need to look at the Glossary section on enharmonics (page 34) 8. Chorale ~ Notice the pyramid again. Remember to listen carefully and adjust for balance and blend. The chorales in this section wil be in different styles. Look for the style or tempo term at the beginning of each piece, review the definition, and watch your director who will give you conducting gestures that will communicate style. Drum parts have been written to develop stick contol, accents, éynamics, buzz or multiple ounce rolls, and additional rudiments such as the single paradiddle, drag, flamacue, flam accent, and jngle ratamacue, Use the piston stroke, and try to become familiar with both sticking systems: right-hand lead (RH) and rudimental (RUD). aB203C8,Concert C Major Studer Page 14 1, Major Scale and Arpeggio - Quarter Notes = 2 sspeasio ae gp vee Bb ctarinet ‘Bb Bans Clarinet Bb Trumpet F Korn Teta Mallets Pereusion o pe20acs:Concert C Major Student Page 14 4 : : 2 a a : i :, : z i Boe te mh em hhc hcl hc eG hv he BB20308,on c Ba, sa. Bae Te. eed epi. 20308 Concert C Major 3. Major Chords iste othe detion of he moving bss pr. FI t ‘Ustntothe destion a he moving bast pa. fu Rudiment: Single Parada 2 Student Page 14Student Page 14 Concert C Major 4. Thirds ben Ba. Asan See, Bsa Th. ‘ars Faph. > ere. a dient Fa” 5, Percussion Feature i ‘Moon March BB20308,Ba Ase. Tax. Bas Tn aw Bonk. Taba es pe2cacs: Concert C Major 6. Chromatic Pivot Seale i tf f P - t | Reneenve hurme Rowe | ERE ROD t Student Page 14 ‘dimen Single ParadeStudent Page 14 7. Chromatic Seale No key signame! 2 be o Bol Ts Bisex. Baws apa. whe Concert C Major od ~t of Noy signee! of v = deepen theft ant BConcert C Major Student Po 8. Chorale van S885 Giocoso (J= 132) a a Ba AS, san, Basan 1H. Hn. ars Eaph. me, 620308Student Page 14 Concert C Major BB20308,dont Page 15 Siu Concert A Minor 1. Harmonic Minor Scale and Arpeggio - Quarter Notes ale peas of Be, ct Ra. Assen Tse Bsa. 'BB20308. aes Eup. ‘TobeStudent Page 15 Concert A Minor 2 2. Harmonic Minor Scale and Arpeggio - Eighth Notes seale peesio a na Te Bases. wars Eph. ‘Tobe mp ~ baz or maple bance E2008,Concert A Minor Student Page 15, |. Minor Chords ‘sen othe direction ofthe moving has ra. 0 fi Sex Tse. Ber. iz {stent th diction of the moving bs pet Tt fi Ten. Bard ap ‘Tobe MiStudent Page 15 Concert A Minor e 4. Thirds om a Ba. Asan Ts BSex. Tee aes Taba one. Pere. % gi _{isen ah ey psn cit6. Chromatic Pivot Scale Concert A Minor Student Page 15 ecco)Student Page 15 7. Chromatic Scale Noley sma! of aa Ts Bsee Ta mf of Concert A Minor8. Chorale fx ov. nel Asan. Tex. Rises. Tre ‘Tube ‘BB20208 ‘Andante sostenuto a Andante sostenuto of Concert A Minoror Concert A Student Page 15 cn Sas Tse, Bsa Ton. Bars ‘Toba BB20308,Concert F Major E g z ; = : #» € € ¢ g $$ 4 & ee ft re i BB20308,87 Concert F Major 2. Major Scale and Arpeggio - Eighth Notes Student Page 16 wale on. na : 2 Ts Sex Eaph Toba Ba2030s, ‘rhazz or mullite bounceConcert F Major Student Page 16 Listen oth dzeton of the moving hs pct. : mn Les ‘Major Chords ft pce Asan Bose. a Listen othe dieton of th moving Boss pc Ten Bars a. a203csStudent Page 16 a Ba. Asan Tan Te Eph. 4. Thirds Concert F Major Listen and watch carefully asthe percussion section plays. Pid REEEEERTEE Penme : : Re tk EREEEE : apes Fear BB20808,Concert F Major Student Page 6. Chromatic Pivot Scale i Tae Bsa aes ap ‘Tobe P : 7 x > = dampen with elton bBegagcs Reine rasStudent Page 16 Concert F Major 7. Chromatic Scale Nola ianae! n nf on. Ba, a na. Ase Tse Bs of Noke simmers! me te, Th, pa Een. Tua cat ms, — Pee. * = amp se aod otConcert F Major Bs, san, os, Pere 'BB20308,a2cscs: Concert D Minor 1. Harmonic Minor Scale and Arpeggio - Quarter Notes Student Page 17 ee rr Le§ € 5 § : S$ t E 2. Harmonic Minor Scale and Arpeggio - Eighth Notes seale ‘2s or muliple bounce AL on Bea Ba. AcSas Tse, Bsn re Ba. Th ses Eu Tobe Ma, Per. BB20308,Student Page 17 Concert D Minor 3. Minor Chords Lise the deston ofthe moving bes pa fi a na. Tse. Bsus. f Listen othe ition of the moving ase par The fi ae! Faph. ne Pars. Raz: Drag > 8= Concert D Minor Student Page 17 4. Thirds P Z 2 iene Fm 5, Percussion Feature ‘An Argument: What To Do Next? Listen and watch carefully as the percussion section plays. eee ROBE EE CO et CAT EL be ott t F 7 E2038.Student Page 17 6. Chromatic Pivot Scale Concert D Minor na, Tae BSee, aes Eph, = dampen with ean Rodina Doe oF- Concert D Minor Student Page 17, 7. Chromatic Scale Noy signa! te O _ Hy b me on. a Tax nf Nokey signa! ap op Th. aes Eph. ‘Tobe ts, "Peannnen| coociiie| ecavecer| ecaraencer| neeneana| eecocice| acacecen| acazauacaca Pere. ca = dampen with fehond pp2oscs "7Student Page 17 Concert D Minor 9 Bet ae in RM Adagio . n = a Ba see Bsa Tre Bars Eph.- Concert D Minor Student Page 17 8. Chorale cont. on. Ra. sax. Bsa. a Ten. ar! Bop, ns, BB20308,101 Concert Bb Major 1. Major Scale and Arpeggio - Quarter Notes. Student Page 18 sspeesio sale mf ona Pere, i on. Sax. Hi, Th. BB20308,acd Student Page Concert B> Major 2. Major Scale and Arpeggio - ighth Notes 102 sepensio scale on. Dea Ral Asan Bsa pe Bae! Eph. Tema Pers. bz x lil ounce ee20s0s,Student Page 18 Concert B> Major 103 3. Major Chords Listen w he dot of he movin bas pat : 3 fi 0. na Toe. f Listen tthe detion ofthe moving has rr. : fl f tf me ure ee ne104 Concert Bb Major on. no Asus Bisex, To. ars Eph. Pere Rodin Fam : : . : . : 5, Percussion Feature atch carefully a te per = Student Page 18 ussion section pays TELE BE 2 20308 =Student Page 18 6. Chromatic Pivot Scale Ra Tan, sex. Bard api. Concert Bb Major 105106 Concert Bb Major 7. Chromatic Scale ‘Node signature! a oa oy na. Ten, bars Euph. Toba ca mf 2 wan a += dampen Btn eft hand eazoscs ““™F" Student Page 18Student Page 18 Concert Bb Major = & 8. Chorale coueoee : of . na. Tan Bard Fah. ‘Tube a we acta | cere eetke pve apni | PPL gERE Pere, v a », “ a ‘ BB20308,Ba. Asa, sae Rise acd Tobe Mins, bB20308, 8, Chorale cont. Concert B Major ——— Student Page 18or Concert G Mii 1. Harmonic Minor Seale and Arpeggio - Quarter Notes Student Page 19 supe seale on. 8 Toa Bsa ‘Tho, Bars Epi ‘Taba Pore BB20308,Student Page 1 Concert G Minor io - Bighth Notes 2. Harmonic Minor Scale and Arpe; peo scale ze ope bounce Ba. Sas. Ten. Bex. Tho. aed Ep ‘Tabs hs, Pere, BB2080SStudent Page 19 Concert G Minor a 3. Minor Chords stent the diesion ofthe moving bas pa. 2 fi Tse San a Listen tthe ieton a the moving base pt. fiConcert G Minor 4, Thirds A Bao, a. Ra. Asan Tex. Bsa. Th Bars Fah ‘Tobe 5, Percussion Feature a2030 ‘Run, Run, They're Everywhere! coos sos Student Page 19 an aStudent Page 19 Concert G Minor 13 6. Chromatic Pivot Seale Ra. San. Bsa Tp. ars Eaph. Tabs P : 2 = te = dampen wt et band ‘adi Pamacneae Concert G Minor Student Page 19 7. Chromatic Scale Nokey saan! of a Bon A Sax, Tse, Bisex, Tt ars Eph. ‘Toba # iA of Pee, Be, re ees Gi oe ezvacs’= sane th et anStudent Page 19 Concert G Minor 2 8. Chorale scans bemmteder Helden Helland ‘Andante eee crete ot Ba. Asan Tsu Bs Tho. Bars ap. te ya BB203CSa8 Concert G Minor Student Page 19 8. Chorale cont. S ~~ Ba Asan, sa. Bsa. Tn ar! opi, Tabe | | } Pere, BB20308,uy Concert E> Major Student Page 20 1. Major Scale and Arpeggio - Quarter Notes ile ca BB20305,uy Concert E> Major Stuclent Page 20 2. Major Scale and Arpeggio - Eighth Notes scale ne4s0 on. oa Rel Tot. Th. Bary Eaph. Taba mp - =burzor mubplebounce BBz03cs.Student Page 20 Concert E> Major = - Major Chords Lien oh eto oe moving hsp. ~ BR ft on. Be, a no. Ase Tes. Bsa, a Lento the ection of te moving hsp. we fl a, 1, bes Ea Tw ea Ms, Be fain eee rer. Rostent Flam cent 2 ? ‘ ‘BB20308,a. no. Tse, Rises. Tr stars Eph. Tha oo BB20308 Concert Eb Major Student Page 20 dimen: Fla 2 3 4 5 ‘ ? 1 5. Percussion Feature ‘watch carefully asthe percussion section plays.~ Student Page 20 Concert Eb Major a 6. Chromatic Pivot Scale 20 eu na Asan Bsa Bac! Epi The P 2 2 2030s,12 Concert Eb Major Student Page 20 7. Chromatic Scale ‘Nok signature be : , ot on, ct Asa Tem, Bsa fe okay sigue! nf aes Ea Tha ee - anpen he ond Ba2dacsStudent Page 20 Concert Eb Major 123 8. Chorale St.Crispin Cantabile (J = 116) George 5. Elvey, 1862 =p on Ba Tsu, mp Cantabile (J= 116) th. ars up 2a + ‘ 5 oy 7 + 1820308,124 Concert E> Major Student Page 20 8. Chorale cont. a Ba Sax Tse Rise ars Eup, mee ts, azoscs:or Concert C Student Page 21 1 Harmonie Minor Scale and Arpeggio - Quarter Notes i 2 ‘ale ‘BB203C8,on. Ba Tse. The. Bari Eup. Tha Pere, ‘8820308, Concert C Minor 2, Harmonic Minor Scale and Arpeggio - Eighth Notes ele sam or ubiple bounce 4 Student Page 21Student Page 21 Concert C Minor ce £2», 3. Minor Chords ‘sen othe dito ofthe raving hss par. : A fi ov. Asan, Tse Besa a Listen tothe iseton of he moving ass pa fi ord Eaph. Tha f a Ceri are Pars, Rudimon: Flam Accent 2 A 4 BB203CSa Concert C Minor Student Page 21 4. Thirds on. a ma Tan, Bases ™ [ oe vm 3 + — ‘Radioeat: am > 2 ’ He 5 fe 7 Pa i.e sion Featur Percussion Feature se nd wc ei prcsion son plays, roe pita! a Smosh lies | Tad y Z = mp oo oreStudent Page 21 on Ra. Asan. Tse. Risa To. Bas ir, ‘Tabs 6. Chromatic Pivot Scale 9 ty = taen thf nd ‘eudiose Wam Aeeat Concert C Minor aa Concert C Minor Student Page 21 7. Chromatic Scale No key signature! Fn. wt a Ro Tes, Bsa Bart ear. z : % = ment et hand ppeoscs “"Student Page 21 8. Chorale ‘Andante espressivo af on. a. no. Tas. Bae act Eup Concert C Minor Sih, her bin eh "oiereches Gecangbuch’ Durst 18 BlStudent Page 21 rit, Or Concert C 8. Chorale cont. cof toe g bod | 820308133 Concert Ab Major 1. Major Scale and Arpeggio - Quarter Notes Student Page 22 wale of A on. Re a Ba. Sax Tse, Bsa Te. Hn. To. Bard uph. Taha ae, Be20scs:Student Page 22 Concert Ab Major 2. Major Scale and Arpeggio - Eighth Notes upeasio vale on, na Assen. Tse Me, Pare ‘bia or mui ounce a2cscs.Student Page 22 Concert Ab Major BS 3. Major Chords “Listen to the dieton of the ving base pt. > A ft Bae Tse, Rese. t Listen othe dretion of be moving bss par. ee bars Eph. ‘Taba ee eee Par. Radiant: Sige Ratmsce 2 , ‘ 820308,Student Page 22 Concert Ab Major 136 a # Asa. Tsu san Rodinent: Fam Listen and watch carefully as the percussion section plays. sao ] i Z i iStudent Page 22 Cone 6. Chromatic Pivot Scale ao ert Ab Major 7 nr G. t a. Bo. Tse. Bas Bar! Eph. . = dcspen wth it ham ‘Radimene Sipe Ratamacae P o wi 2 SSS >138 Concert Ab Major Student Page 22 7. Chromatic Scale be. 0», a aa. Asan Tsar, sax, ‘Ton, Bars Eph Tobe bi a nfStudent Page 22 Concert Ab Major 139 8. Chorale a Bt cen sat nL a Ba Tax. Bsus Ten. aes ep ‘Taba BB20808,i Concert Ab Major Student Page 22 8. Chorale cont. on. ct na Bsa. acs op, Tobe BB20808i Concert F Minor 1. Harmonic Minor Scale and Arpeggio - Quarter Notes Student Page 23 eae ca na Asa Sa, Bsa me T™. ard Eeph. a20308Student Page 23 inor Concert F 2. Harmonic Minor Scale and Arpeggio - Eighth Notes 142 eile Ten Bsa. Eph. ‘= sz or mule Dounce aa20acs,Student Page 23 Concert F Minor 8 3. Minor Chords Listen th diseon ofthe moving has pan. Fi na Asm san Bisa t ‘Lisea othe diseon ofthe moving basa, fi Thm. Bans ok, ‘Raimen: Single Ratan Bp20808,AL on. a. Ra. Asan Tas Bases. Th. ars ip. ‘abe 4. Thirds Rodin: Fla 5, Percussion Feature amily and Friends Greet Ust Concert F Minor Student Page rnd watch carefully asthe percussion section plays.Student Page 23 Concert F Minor i 6. Chromatic Pivot Scale a — on, na Asan Teen Bars ph. 1 ? me ? 7 : re ey i: He oe 6 z af i rai a ee = dampen with Jeft band f Rodman: Single stamacae 820908Ba Asan Ten Te Ton, ars Eup. Toba Pere, BB20308, 7. Chromatic Scale ‘No signa! a af Nokey signe! = damp with ef hand Concert F Minor Student Page 23on. Ra Ten Bisex Concert F Minor aby 1 + M7 Southvrell “Peat Wi Dama 15° 8203018 on. Ra Asan Tse. Busan. Bas ap. Tbe Ba20scs: 8. Chorale cont. Concert F Minor Student Page 23Student Page 24 19 Part 3 — Key Change Studies Composers often write music that changes key from the first key used. In this section you will practice performing and listening to key changes. You will see asterisks (*) throughout. Each asterisk indicates the note that is altered by the key change. Itis a reminder to change the note according to the new key signature. With practice, you will not need the asterisk; just look at the key signature. This section takes you through five major keys. Challenge yourself to try the scale patterns and familiar songs in different keys. Part3 is presented in the following format 1. Major Fives ~As in Part 1, this exercise moves up and down the first five notes of each scale, but the arpeggio is omitted. In addition, this exercise moves from the first key (frst three measures) to the next related key (next three measures). The related key will always be an interval of fourth away from the original key. For example, the first key presented is concert C. A perfect, fourth from concert C is concert F and that will be your new key. Listen to how the interval sounds. Notes a fourth away from each other have a close musical relationship. 2. Major Scales ~ Full scale patterns return in this exercise. They begin in one key and move to the related key. Remember to check the new key signature located after the double bar. 3, Familiar Pieces ~ There are several pieces in this section that you will recognize. Play each ‘melody in the original key, then check your key signature as the melody is repeated in the new key. 4, More Familiar Pieces —‘This exercise is similar to No.3 except that the pieces are longer and utilize a broader range of notes. Drum pasts have been written to reinforce previously learned concepts and skills. At each key change, drum parts may introduce new rhythmic patterns, different rudiments, or different tone colors. Different tone colors can be produced by playing on the rim or near the edge of the drumhead. Other techniques include cross-stick, rim shot, and stick click. Use the piston stroke, and become familiar with both, sticking systems: right-hand lead (RHL) and rudimental (RUD). sB20308,ee Concert C to F Major Student Page 25 1. Major Fives Obve 1B Bas Clarinet Ble Saxophone AL Tener Sanopione Eb Baritone Saxophone Bh Trumpee Eon ‘Trombone Toba Matt, "Parseeea|eeripery Percussion : “note altered by ey cha 88203CS besetStudent Page 25 Concert C to F Major 2. Major Scales 151 yy ca ies “nore altered by key change ‘3820308,2 Concert C to F Major Student Page 2 3. Hot Cross Buns pope n on, a na Ase, Bsa To. ard Eup 820808Student Page 25 a Asa Sen Bsa. Tee Bers Eup Concert C to F Major 153 p203cs,25, Student Page Concert C to F Major American Folk Song 4. Skip To My Lou A on. Ben a. Ra Asan Tas pe i T., aes ap Toba Ms, Pa. Bazoscsaa Concert C to F Major Student Page 25 BB203C8Student Page 26 Concert F to Bb Major 1. Major Fives 6 A See san Bsa Thm. aed Eph ‘Tobe Ms, Pare, note altered by key change ‘BB202csStudent Page 26 2. Major Scales on, Ra ‘Tse Tee. ard Raph. “Tae of ye Concert F to Bb Major > “note altered by key change aU, aon. Ro, 8a Bsa ars Fah. Taba ts, Concert F to B> Major Student Page 26 3. Jim Along Josie American Folk Song so ¢ : BB20305,19 ‘|8p20303 5 e z : e ma 8 2 a 3 g 1 | ; 8 J & s ¥ S 2 € £2 ¢ g $ 4 $ £ ££ £ BH G # 3k160 BB203cs, 4. Mister Banjo Concert F to Bb Major Student Page 26 (Groole Folk SongSiudent Page 26 Concert F to Bb Major i na. Asa, oe. Ha, ans raph. ‘Tha oma. » ” 2 vs aM 1" sl ‘8B20303Student Page 27 Concert Bb to E> Major 62 I & 3 8 2 £ 2 ; 2 8 [ i . : 3 g : 3 i z 4 oe 8 z é a 3 e : 7 7 é a é ae 2 a i a163 Concert Bb to E> Major Student Page 27 2, Major Scales ov. a 3 Asn sae Sax Tha x ‘note altered hy key changeov. Tse, Bsa ars raya, B20scs. 3, Auclaire dela lune Concert Bb to Eb MajorStudent Page 27 Ra Sen 1. San, Bsa Tht. Te. acs Eph. Tobe 4. Ode to Joy Concert Bb to Eb Major 165 Jnndwig van Beethoven BB20308166 Concert Bb to Eb Major ‘Student Page 27 4, Ode to Joy cont. Asa Ts. Bsa ars Ean hs, Pers. BB203CS,167 Concert Eb to Ab Major Student Page 28 1. Major Fives Ra. Asan san, Rise ard Fah. ‘Taba Pers, BB20308, ‘note altered by key changeStudent Page 28 Concert E> to Ab Major 2. Major Scales 168 A on. Tse, Bisex Ten ard raph. ‘Tata Per ‘mote altered by key change BB2030S,Student Page 28 Concert E> to Ab Major 1 3. Musette Johann Sebastian Bach na. Asan Tsu, Bsa Tt asd rep. BB20308,Student Page 28 Concert E} to Ab Major ‘American Folk Song 4, Yankee Doodle oe _-_C_-~=E—E_=-_=~_=-_____|,, _"™=>=,;_——==_-__,| Ba20scs,171 Concert Eb to Ab Major Student Page 28 on. na Asa Tan Bisex pe To. Bard ep. ‘Tuba a20scsPart 4 — Articulation Studies Articulations indicate how notes are to be tongued and released, Each piece has a different articulation challenge. Some will focus on one main articulation and others will ask you to perform different articulations in the same piece. Your director wall show differences in articulation through different conducting gestures, Plain Note The plain note receives full value. Tongue the plain note with precision and end it with an open release, > D> Tenuto Note ~The tenuto note receives full value, Tongue the tenuto note gently and play tenuto phrases with a continuous stream of air. Repeated tenuto notes express a smooth (legato), horizontal style. Staccato Note — The staccato note is shortened in value. Tongue the staccato note with precision and, end it with an open release, Repeated staccato notes sound detached, Accented Note ~The accented note has weight. Tongue the accented note with confidence, using air to create emphasis. End the accented note with an open release. Repeated accented notes are separated with space. e E> Marcato Note — The marcato note is forceful yet shortened in value. Tongue the marcato note with confidence and end it with an open release, Marcato notes are shorter than accented notes. AeA ee rz, i », > © © & Slurred Notes - Slurred notes are smooth and connected. Tongue only the first note in each group: of slurred notes. eee eo note: Trombonists must gently toungue all notes within a slur. Drum parts have been written to showcase accessory instruments such as the maracas, claves, crash cymbals, guiro, suspended cymbal, tambourine, triangle, woodblock, shaker, cowbell, and finger cymbals, as well as handclaps. Accessory instrument playing techniques are described on pages 44-46, ‘B52086SStudent Page 30 Articulation Studies 1% 1. Are You Slurring? late me Baton Bh clarinet Be Raw Carin Eb Ate Sasophione Bi Tenor Staophone E Rartone Saxophone 1B Trumpet Hom Raritons! uphostam Mats Percanion Se - . "Wind articulations are included for your understanding. Of the various articulations shown, malt players should emphasize accented notes. eez0scsArticulation Studies Swudent Page 30 2, Déja vu Woodwind, tease pectin : siemse A on, ce Ra Ase. Tse. Bsa, ‘pt acs apa, Toke 7 ; = : an F ececytihiy art acc azcacsStudent Page 30 a. ne. Ase. Tax. Bsa. acd Eup. Tea Pers, mp 3. Are You Tonguing? Articulation Studies phar 15 Ba2030s:4, Said with an Accent Ra, san, Rises. ars Eph, ‘Taba 8820308 Articulation Studies gaan twine Student Page 30Student Page 30 5, Dots and Dashes ac. Tas aed epi ? ee ‘Weed lak wneum be wat oat ove) Articulation Studies 1771B o, Ral Asan Tex. sax es Eph ‘Taba 5. Dots and Dashes cont. Articulation StudiesStudent Page 31 Articulation Studies 13 6. Déja va Signet pocuion see mp o Ba Tex, Bs in, Thm, ars Een ‘Taba mp ‘tte wc ier meats SAR si pele BB203CS:180 Articulation Studies eee 7. Articulation Agitation ——1.— A of on, a. ne. Asa Tsu. Bsa. pe. Toba et Pere vtec en ” Ba20s0s,Student Page 31 Articulation Studies os 8. Slithering Slurs a. Asa Tax aed api Tuba BB20308,182 on Ra Asa. Tan, B.sex. ‘Tobe 20308, Articulation Studies Student Page 31Student Page 31 Articulation Studies 183 10. Lotsa Dotsa on, na san. see The aes Eaph. > timaon "07 Shire det pm se)184 nou Tan, ‘ars Eup. BB20308, 10. Lotsa Dotsa cont. Articulation Studies Student Page 31Student Page 32 185 Part 5 — Flexibility Studies ‘Composers often write music that requires you to play a wide range of notes for along period of time. ‘The following exercises will help you to improve your tone, range, and endurance. As you practice each 1 oupofintervals, focus on good breath support and smooth slurs. se regula fingering forall P. a Ro. Asan. Tsun, Basa. Use suggested slide postions (es Th Use supgeced fingerings 000. pars | Epi Use suggested fingerings: BB20305,186, on, a Ba. Asan, Tse Bsm Ten, eed Eph. BB20308 Use rela fngering forall Fs. se suggested fingerings. Bogen ‘Ge sugested side positon. ‘Use suggested fingerings. espe ingrings. Ste oe Re — Flexibility Studies ae Student Page 32Student Page 32 Flexibility Studies Tan end Beph. ‘Tube Per. 3 se reat fingerings fora Fs te waged going. ve suggested slide postions Ue azn acs eee 187188 nn. se regular fingerings for all Fs ov. Ber a na. Ase. Te B.sex. Use suapested ingrings Tt me se suggested slide positions i = Th. ee sage fingerings. Bard Eph. oe sage ng. Taha me, Pere p203cs Flexibility Studies Student Page 32‘Student Page 32 on. a Ra, 1.8m. Tha Hlexibility Studies 189 BB20308A se regular fingerings forall Ps on. Ba Asa san Bsa oe suggested fingerings ape ve suggested side, i Use suggested fngerngs. bars Eaph. Use suggested fingerings. O00 Tobe Pere. BB20308, Flexibility Studies Student Page 32Student Page 32 Flexibility Studies 1 na Ase, os Bars Euph. The i. Pere, BB20308192 Stuclent Page 33 Glossary A glossary is a mini-dictionary. In it you will find information about musical terms, symbols, signs, and performance techniques. All of the information in the glossary relates to the skills needed to develop outstanding musicianship. Accidentals: Accidentals are sharps, flats, or naturals placed in front of notes, They remain “powerful” for an entire measure. same as BS sameas FA stil tat 4 A sharp raisesapitch% step.’ Aflatlowers apitch ¢step. 4 Anatural cancels a sharp or flat. * A double sharp raises a pitch 1 step. tb A double flat lowers a pitch 1 step. Balance: A band sound is balanced when each part can be heard in proper relationship to all parts. Avery famous band leader named W. Francis McBeth diagramed a balanced band sound in the shape of apyramid. Balance Pyramid: The Balance Pyramid will help your band develop a warm, dark sound, Like the pyramids of Egypt, a balanced band sound must have a sturdy foundation. Use the Balance Pyramid ‘each time you see the pyramid icon in this book. ‘use the Balance Pyramid ‘drums = capstone Drums project, 0 play them with great control alto alto saxophone 1 ‘rumpet 2 alto saxophone 2 {enor saxophone hom tenor bassoon, trombone, baritone, ‘bass clarinet, baritone saxophone, tuba bass more volume Balance Pyramid” Incorrect Balance: A band sound is imbalanced when each part cannot be hear in proper relationship to all parts. An imbalanced band sound can be represented by an altered pyramid, oe) = V Da © not enough low not enough middle not enough low “Taken from “Fffective Performance of Band Music” by W. Francis McBeth, published by Southern Music Ba208¢S,Chorale: A lyrical hymn often utilizing four-part harmony (see the Balance Pyramid above). 193 Dynamics: Dynamics indicate volume levels. Dynamics can change, remain steady, orbring about surprise, ‘Changing Dynamics crescendo (oresc,)- gradually louder TS deeerescendo (decresc.) or diminuendo (dim.) - gradually softer poco a poco little by little Steady Dynamics pp pianissimo—very soft P piano ~ soft mp mezzo piano-medium soft mf mezzo forte~ medium loud S—— forte-loud SF —_fortissimo—veryloud Surprise Dynamics fp forte-piano—loud, then immediately soft ¥ or fz sforzando or sforzato—a strong, sudden accent Enharmonics: Enharmonics are two notes that sound the same but are written differently. ‘Use the same fingering when playing enharmonics. ——— = = 2 Fe rs i = Harmony: Harmony is the simultaneous sounding of different pitches, usually in the form ofa chord, The chorales in Part 2 of this book utilize four-part harmony. Intonation: Intonation is the measure of your ability to match correct pitch. Good intonation, isa result of careful listening, correct embouchure formation, and proper breath support. apzoscs 3198 Treble Clet Progression of Flats ‘Treble Clef Progression ‘of Shasps Bass Clef Progression of Fas Bass Clef Progression of Sharps BB20308, Shudent Page 35 Key Signatures: Key signatures are the flats or sharps found at the beginning of each staff. They show ‘which notes are altered in a piece and indicate either a major or minor tonality. Order of Flats and Sharps: Flats or sharps appear in the key signature from left to right. Reverse the order of las to get the order of sharps. PB EAD G ¢ FY nme emu Relative Key Signatures: Major and minor key signatures that are the same are called relative key signatures. Because A minor shares the same key signature with C major, these two keys are related. Relative key signatures are explored in Part 1 and Part 2 of this book. Bb Major GMinor C Major AMinor F Major D Minor Eb Major Minor Ab Major F Minor D Major BMinor E Major Ct Minor Major AMinor GMajor EMinor A Major Ft Minor Major AMinor F Major D Minor Bb Major GMinor Eb Major Minor ‘Ab Major F Minor C Major AMinor GMajor EMinor D Major B Minor AMajor Ft Minor E Major Ct Minor Parallel Key Signatures: Parallel major and minor keys share the same tonic note (home tone), but not the same key signature, Add three flats to any major key signature to produce its parallel minor key signature, Remember: flats cancel sharps. Major Minor + bbb = E Major EMinor + bbb =Melody: Melody is a succession of musical tones. Unlike harmony, which is vertical, melody is inear or horizontal. For melody to have meaning, its pitches must have rhythmic value, Pause Markings: These markings interrupt or suspend the flow of the music. ‘Common Pause Markings M1 cacsura~a short pause > fermata—lengthen the note or rest GP (rand pause) - along pause Pitch: Pitch is the highness or lowness of atone. In music, pitches are named according to the musical alphabet. The musical alphabet consists of seven repeating letters: A, B, C, D, E, BG. Repeat Signs: Repeat signs provide direction and often “map out” the form of a piece. ‘Common Repeat Signs Coda - the concluding section or passage D.C. al Coda ~ go back to the beginning and play to the Coda sign @, then skip to the Coda D..al fine —go back tothe beginning and play to the end, indicated by fine DS. al Coda— go back to the sign §S, play to the Coda sign ©, then skip to the Coda DS. al fine— go back to the sign % and play to the end, indicated by fine (fine— the end (The Italian word fine is pronounced FEE-n: one-measure repeat ~repeat the previous measure two-measure repeat ~ repeat the ‘two previous measures ‘multimeasure rest~rest forthe number fp of measures indicated repeat signs repeat the music HH: lh between the signs Ist and 2nd endings play through ee the 1st ending, repeat the section of CC play through the second ending BB20308,196 Bazoscs: Student Page 3 Rhythm: Rhythm is musical movement in time. While the beat is the steady pulse of the music, rhythm involves the placement and duration of notes. Rhythmic Groupings: Notes are grouped together by beams. Typically, the rhythmic value of each ‘beamed grouping equals one beat. tocar $ + ' + t | J at 4pO SD FR A a, Scales: Scales are sequences of notes that ascend and descend by specific intervals. Al scales in this book move by step. ‘Major and Minor Scales: Major and minor scales are constructed with eight scale tones (diatonic steps). Minor scales are unique because they appear in three different forms: natural, harmonic, and melodic. Part? of this book explores major and harmonic minor keys and scales. Chromatic Scale: The chromatic scale is constructed with semitones (half steps), Ibis an important scale to memorize because it contains every note playable on your instrument. This scale is also explored in Part 2 of this book Style Terms: style terms are used to describe an intended mood, They often appear along with tempo terms at the beginning of a piece or at a new section within a piece. ‘Common Style Terms animato — animated leggiero— lightly agitato— agitated ‘maestoso ~ majestically cantabile~ in a singing style marziale~ in a martial style dolce ~ sweetly pesante— in a heavy style espressivo — expressively scherzando -in a playful style glocaso ~ joyfully seeco—very shortand dry grandioso—in a grand style sostenuto—sustained razioso ~ gracefully ‘Tempo Terms: Tempo terms indicate the speed of the beat. Tempo can remain steady or it can change to make a piece more interesting. Steady Tempo Terms grave very slow and solemn largo -very slow (J = 40-60) larghetto— a litte faster than largo (J = 60-66) adagio ~ slow (4 = 66-76) andante ~ moderately slow, at a walking pace (J andantino— a little faster than andante ‘moderato - moderate (4 = 108-120) allegretto— a little slower than allegro allegro ~fast, cheerful (J= 120-168) vivace —fast, vivacious resto — very fast (1= 168-200) prestissimo ~as fast as possible (J = 200+)Student Page 38 197 Increasing Tempo Terms ‘accelerando (accel,)— gradually faster stringendo (string,) ~ gradually faster, usually with a crescendo doppio moviment - twice as fast piie mosso more motion, faster ‘con moto—with motion, keep the tempo moving Decreasing Tempo Terms rallentando (rail, - gradually slower ritardando (rit.)~ gradually slower ritenuto ~ immediate reduction in speed allargando (allarg.)- gradually slower and broader morendo ~ gradually slower and softer, fading cealando— gradually slower and softer smorzando (smorz.) ~ gradally slower and softer ‘meno mosso —less motion, slower Miscellaneous Tempo Terms Vistesso tempo keep the same tempo a tempo ~ resume previous tempo (after rit) tempo primo return to the first tempo rubato — flexible, clastic tempo ‘Timbre [tam-ber]: Timbre is tone color. When two or more different instruments play the same pitch, timbre is the element that makes it possible to tell them apart. Instrument Timbre: To achieve a desirable sound on your instrument, use correct embouchure formation and proper breath support. Percussionists should use correct stick grip and proper stick height. ‘Time Signatures: Time signatures are two numbers placed at the beginning of a composition. to indicate its meter. The top number indicates the number of beats per measure and the bottom number indicates the unit of beat (4 for quarter note, 2 for half note, 8 for eighth note). Familiar Time Signatures lhe creeps SSS Tedeseas p203cs,BB20308, Tuning: Tuning is the matching of correct pitch. ‘The Science Behind Tuning: When you play your instrument, invisible sound waves travel through the ait. When two or more instruments are in tune, their sound waves match, When two er more instruments are not in tune, their sound waves do not match, SSLMN AVWOVOW in tune ~ stable sound not in tune unstable sound Flat Versus Sharp: A pitch that is too low is flat. A pitch that is too high is sharp. Use your ear to determine if a pitch is Mat or sharp. Using Your Ear: Your ear reveals the accuracy of your tuning note. When your note Is in tune, it will match the reference pitch and sound stable. If your note sounds unstable, is not in tune. Using Good Technique: Correct embouchure formation and proper breath support are key to playing in tune, Adjusting your instrument may also be necessary. Adjusting Your Instrument: Your band director will show you which part of your instrument to adjust, If your tuning note is fat, adjust by pushing in. If your tuning note is sharp, adjust by pulling out. ‘Tuning the Band: semble tuning requires careful listening, patience, and plenty ofpractice. ‘Vertical Tuning: Vertical tuning works from bottom to top. In vertical tuning, the tubas tune using an electronic tuner. Follow these steps: 1. Listen carefully as the tuba section holds the reference pitch. 2, Add tuning notes one. ion at a time, working up the Balance Pyramid. 3. Adjust instruments if necessary. 4. Repeat steps 1-3 until the band sound is uniform, Horizontal Tuning: Horizontal tuning works actoss the woodwinds and brasses. In horizontal tuning, the principal clarinet and principal trumpet tune using an electronic tuner. Follow these steps: For the woodwind family... 1, Listen carefully as the principal clarinet holds the reference pitch. 2, Add principal players from all woodwind sections, adjusting instruments if necessary. 3, Add all woodwind players, adjusting instruments if necessary. 4. Repeat steps 1-3 until the woodwind sound is uniform. For the brass family... 1, Listen carefully as the principal trumpet holds the reference pitch, 2. Add principal players from all brass sections, adjusting instruments if necessary. 3. Add all brass players, adjusting instruments if necessary. 4, Repeat steps 1-3 until the brass sound is uniform,199 Tuning Individually: Individual tuning requires careful listening and the use of an electronic tuner. Using an Electronic Tuner: An electronic tuner displays the accuracy of your tuning note. When your note is flat, the tuning gauge points let. When your note Is sharp, the tuning gauge points right. When ‘your note is in tune, the tuning gauge points dead center. Follow these steps: 1. Play your tuning note and hold it steady. 2, Watch the tuning gauge (o see if your tuning note is flat or sharp. 3. Adjust your instrument if necessary. 4, Repeat steps 1-3 until the gauge points dead center. ‘Tuning a Section: Sectional tuning requires careful listening, patience, and plenty of practice. Section members should use horizontal tuning, guiding off the principal player. Section members can also tune using an electronic tuner. 13820308,200 Appendices — Woodwind, Brass and Mallet Percussion Books e203cs, An appendixis a section at the end of a book that contains extra material. The following is a list of what you will be able to find: Conductor _ Student Page al ‘Tuning Notes eer ‘The ‘Traditional Band Tuning Note, concert Bs, is located on page 41. In addition, there is a Recommended Tuning Note and Adjustment Procedure that vary for each instrument. The following are only included in the woodwind, brass, and mallet percussion books: Basic Chromatic Scale ......... ‘The Basic Chromatic Scale covers the range of one octave. The scale begins on concert Bb and is presented for individual study. Transposed chromatic scales are found in Part 2 ofthis book. Advanced Chromatic Seale .......++. The Advanced Chromatic Scale covers the range of two octaves. Because starting notes vary for each instrument, the scale is presented for individual study. Major Scales .. ‘The Major Flat Scales located on page 42 cover the range of one ‘octave. They are presented for individual study and follow the circle of fourths in the following order: C, F Bb, Es, Ab, Db, Ge, and Cb, ‘Transposed major scales are found in Part 2 ofthis book. ‘The Major Sharp Scales located on page 43 cover the range of one octave. They are presented for individual study and follow the circle of fifths in the following order: C, G, D, A, E,B, Ff, and C4, Transposed ‘major scales are found in Part2 of this book Natural Minor Scales ...... Peery ‘The Natural Minor Flat Seales located on page 44 cover the range of one octave, They are presented for individual study and follow the Circle of fourths in the following order: A, D, G, C, E Bb, Es, and Ab, ‘The Natural Minor Sharp Scales located on page 45 cover the range of one octave, They are presented for individual study and follow the cle of fifths in the following order: A, E, BF, Ci, G, Df, and Ab Harmonic Minor Scales . ‘The Harmonic Minor Flat Seales located on page 46 cover the range of ‘one octave, They are presented for individual study and follow the citcle of fourths in the following order: A, D, G, C, 5 Bh, Eb,and Ab. Transposed harmonic minor scales are found in Part2 of this book. ‘The Harmonic Minor Sharp Scales located on page 47 cover the range of one octave, ‘They are presented for individual study and follow the circle of fifths in the following order: A E, B, Ft, Cf, G#, Dt, and At. ‘Transposed harmonic minor scales are found in Part 2 of this book.201 Appendices — Percussion Book Conductor Book Page 204 Sticking Systems Pages 41 and 42 present two sticking systems: Right-Hand Lead (RH) and Rudimental (RUD). Stickings for both systems are located above each exercise in Parts 1-3 and Patt. Stroke Style . ‘The Stroke Style section describes the special techniques used for playing accents, buzz.or multiple bounce rolls, dynamics, flams, and the piston stroke. Alternate Sounds ......+++e+00++ ‘The Alternate Sounds section describes the special techniques used ‘when dampening the bass drum,playing on or near the snare drum rim, letting cymbals vibrate, and when producing rim shots, left-hand cross-sticks, and stick clicks, seee 208 Accessory Instruments ...++.+++ a ages 44-46 list the most common accessory percussion instruments along with the special techniques used to play them. Accessory instruments include claves, cowbell, crash cymbals, finger cymbals, {guiro, handclaps, maracas, shaker, suspended cymbal, tambourine, triangle, and wood block, Accessory instruments are featured in Part 4. azaaes:Flute ‘Oboe Bassoon, BS Clarinet Bb Bass Clarinet Eb Alto Saxophone Bb Tenor Saxophone B Baritone ‘Saxophone 8520808 ‘Traditional Band ‘Tuning Note = Concert B> i ak Tuning Notes ‘Recommended Tuning Note Student Page 41 Adjustment Procedure adjust headjoint adjust reed adjust reed adjust barrel ‘adjust middte joint adjust neck adjust mouthpiece adjust mouthpiece adjust mouthpieceStudent Page 41 Bb Trumpet ‘Trombone Baritone/ Euphonium Tuba ‘Traditional Band ‘Tuning Note = Concert B> Tuning Notes Recommended Tuning Note 203 Adjustment Procedure adjust main stide ‘adjust main slide adjust 2nd valveslide adjust 1st valve slide adjust tuning slide adjust main slide adjust 2nd valve stide adjust Ist valve slide adjust main slide ‘adjust 2nd valve slide adjust Ist valve slide e20scs,Percus ont Book Page 41 Sticking Systems 18520308, oma Hy ‘This book presents two distinct sticking systems: Right-Hand Lead and Rudimental. Your goal should be to leam both systems. Your director will help you choose the system to start with. A first-rate percussionist should know both systems, as well as others not presented in this book. Right-Hand Lead (RHL)—this sticking system is very practical but requires that you follow a few ple rules: |. The right hand (R.H.) plays the strong beats and the left hand (LLH,} plays the weak bs Most rolls start with the R.H. L 2 3, Allflams are played with the RAL 4, The R.H. should not overpower the LH. s-strong beat ‘weweak beat ca oe R L think Js -}4-¢ : ‘ Ee ee : ble tert dl H 0 f “ 5 t oe TB ye he Be be yd be de Dey RERERLRERERERLRL RRLRRLRRLRRL RLRRLRRLRRLR tinh 74 TS Sy SO, SE Ey R LRLR L RELRELRELRLE HOR eae 4 Advantages 1, RHL facilitates counting, a skill that is essential to good musicianship. 2. Repeated rhythmic patterns use the same sticking. Disadvantages 1, RHL can be awkward when playing triplets because the LH. can fall on a strong beat. 2, Attimes, RL may not allow fast ot smooth playing like the rudimental system. 3. Attimes, RHL may not work well when the tempo is extremely fast or extremely slow.Percussion Book Page 42 205 Rudimental (RUD) —this sticking system is quite common and requires that you alternate strokes until you come to a rudiment. Play the rudiment with its assigned sticking, then continue to alternate strokes until you come to the next rudiment. You may need to adjust your sticking to accom- ‘modate rudiments that begin with the RLH. You may also begin phrases that follow a rest or along note with the RE. Advantages 1. RUD develops physical control, coordination, and endurance. 2 RUD develops both hands equally. 3. RUD teaches fundamental patterns unique to drumming—rudiments. 4, RUD requires consistent practice, thereby developing patience and perseverance. Disadvantages 1. Young drummers may become dependent on pattern reading at the expense of counting, 2, Repeated rhythmic patterns can use alternating stickings, thereby sounding inconsistent. Common Rudiments—There are many drum. popular to begin with, iments. This book gives you the most Flam Tap Drag p-Ee Bd ee ele epee Flamacue -} 344s tp ___| Ham Accent 33-2 J —_4 JT] Single Ratamacue }R-Bee oa Beds | 820308,Percussion Stroke Style BB20308 Accent (The accented note has weight or emphasis. Determine your accent stick height, then use a lower stick height for all unaccented notes. Avoid overplaying your accents, Remember, a pianissimo accent is still a form of pianissimo. Buzz or Multiple Bounce Roll—Concert rolls are notated with three short diagonal lines (¢) or az" imprinted on the stem. It is quite common to buzz sixteenth notes to produce a roll. However, other bases such as triplets, sextuplets, and thirty-second notes are sometimes needed. When playing the exercises in this book, itis recommended that you buzz as fast as the note value indicates. Buzz Technique—To start the buzz, gently squeeze the fulerum as you begin the piston stroke. This will press the stick tip into the drumhead creating a buzz. To make the buzz longer, gently relax the squeeze at the fulerum. If done correctly, the drum will produce a "buzz-2-7-2-2" sound. Dynamics Using Stick Heights—An easy and effective way to achieve dynamics is to gauge your stick hhefght. This can be measured in inches as follows: 8" o£ 6” f a" of ca mp Vv 2 wr pp “Gumheady Flam—This rudiment expands the beat. The large note or primary note is played with the wrist (piston stroke) and falls on the beat. The small note or grace note is played with the fulcram point (finger squeeze) and falls just before the beat. When played correctly, the drum will produce a “fa-lam” sound. Piston Stroke—The piston stroke is the smoothest, fastest, and most efficient stroke, tis just like bouncing a basketball; throw the stick to the drumhead and let it rebound naturally to the starting position. The stick should move straight up and down with a “blurring” nonstop motion. Ifyou want to play fast, practice this stroke, ternate Sounds Percussion instruments are quite versatile in that they can produce a wide variety of sounds. ‘To produce different sounds, you need to know the following techniques: Dampening—Dampening is a common bass drum technique. Gently press the fingertips of the LH. into the bass drum head so that the drumhead rings less when struck, This technique is used to play notes marked staccato. Edge—Play approximately one inch away from the snare drum tim. Left-Hand Gross-Stick—This technique produces a clave sound. Anchor the tip ofthe left drumstick into the center of the drumhead. This creates a hinge that allows the but of the drumstick to be lifted then driven into the rim Let Vibrate (Lv) This marking indicates that a sound should be allowed to ring freely without being, dampened. Rim—Simply play on the rim or counter hoop using the shoulder of the drumsticks.sion Book Page $4 207 Rim Shot (r..) —The standard way to play a rim shot is to drive the body of the stick into the rim just as the tip ofthe stick strikes the drumhead. An easier way to play a rim shotis to place the left drumstick tip on the drumhead while resting the body of the stick on the rim. Strike the right stick across the body of the left stick, Stick Click—A stick click is produced by raising both drumsticks face high, then striking one stick across the other. Accessory Instruments Accessory instruments add color and interest to the overall sound of the percussion section. ‘These instruments are usually held at chest or face level. Many accessory instruments are Latin American in origin, Glaves—The claves are the “heartbeat” of all Latin American music. Each beat is based on a “clave” rhythm, Claves can be made from many materials including hardwood, rosewood and even fiberglass. Rosewood claves are the most common and produce that unmistakable clave sound. Gently cradle the clave in your LAH. being careful not to let your fingers get too close to the striking area. Strike the left clave with the right clave, Do not squeeze the left clave too tightly or you may get a dull sound, You may ‘want to turn the claves until you find just the right spot that gives a full, resonating sound. Use a marker ‘to mark this playing spot so that during performances you will always achieve a great tone. Cowhell—The cowbell has two primary playing areas, the body and edge. Both areas may be mufiled or open. Therefore, there are four tonal possibilities, and it is up to you to determine which sound to use. The cowbell is frequently played with the butt end of a drumstick. rash Cymbals—Crash cymbals can produce many great effects, however, they are generally used to add depth to an emphasized note or phrase. Set the cymbals on a padded surface and grasp the straps near the cymbal bell using the fulcrum point (where the thumb and index finger pinch together). Once you have the straps securely gripped, you may move the cymbals into playing position. For concert band playing, avoid putting your hands through the straps; this is done in marching band playing to help hold the cymbals for long periods of time. Also, avoid using leather pads, wool pads, or wooden handles as they tend to deaden the sound, These items, however, may prove helpful in marching band. In order to obtain a good crash without producing the dreaded “air pocket,” you should position your left elbow at waist level with the cymbal laying flat and facing the ceiling, ‘Then place the right cymbal at a slight angle (30 degrees) one ot more inches from the bottom cymbal. To crash, raise the R.H. cymbal and let it crash into the LHL cymbal. Itis very important that you only move the right cymbal and maintain the 30 degree angle. To play dynamics, raise your right hand 1” for mezzo piano, 4-5” for ‘mezzo forte, and 6-8" for forte. To choke the crash cymbals, pull both cymbals into the abdomen or tum them vertically and pull them into the sides of your body between your elbows and ribs. Finger Cymbals—these are not tiny crash cymbals! They should produce a full sound with ringing overtones. Place one finger cymbal horizontal and the other vertical, then strike the edges together. Choking or dampening is achieved by bringing the cymbals to the body. Guiro—The guiro is a wooden or gourd tube that has horizontal slats cut into the surface. This allows ‘you to produce a scraping effect. The back of a plastic comb or the teeth of a metal pick make excellent scraping devices. The three basic sounds are the scrape (usually scraping up and in toward your body), the tap (usually tapping in the same spot or going away from your body) and the roll (rapid back and forth scraping). Because longer notes are usually scraped and shorter notes are usually tapped, you may need to decide which technique to use for the sound you want. The guiro is very fragile, so take cate not to play it oo loudly, and always store it in a safe place.BB205CS Percussion Bool Handclap—in Spain, the traditional Flamenco music calls for high, medium, and low handelaps, ‘which is very similar to choir parts (soprano, alto, tenor, bass). Experiment as you try to produce each of these sounds. Maracas—The maracas are wooden or gourd bulbs with beads inside and handles for easy playing. Itis common to hold the maracas up close to face level so that the sound can soar over the band and so that the audience can see the instruments that are making the respective sound. When a sharp, crisp eighth-note sound is desired, you should pretend that there isa brick wall justin front of your face with another brick wall two feet further out in front. The maracas should move back and forth between the two imaginary walls, stopping abruptly each time a wall is hit. This abrupt stopping is what produces the crisp sound, Accents are played by using more wrist snap atthe beginning of the stroke. Each pait of maracas has a different sound, so make sure that you find the correct sound to fit the music. ‘Shaker—Here is an instrument that you can build yourself. The shell may be made from cardboard tubing, soda cans, milk cartons, or pipe. The beads can be rice, beans, BBs, popcorn, or other small objects. Partially fill the shaker shell with beads, then seal shut the opening so that the beads do not leak out. When playing the shaker, you should use the brick wall principle and the accent principle that is common to playing the maracas. Suspended Cymbal—One of the key elements to a good suspended cymbal sound is not the cymbal itself but rather the stand. Make sure that the cymbal only touches a plastic sleeve or a felt washer. Once the cymbal is allowed to rub against another piece of metal, a crack can occur. This one mistake can destroy a perfectly good cymbal. Most suspended cymbal parts can be played on the eymbals from a drum set unless a specific suspended cymbal is owned by the band. It is common to use medium ‘yam mallets to play the suspencled cymbal, positioning the mallets about 1” from the edge of each side of the cymbal. Rolls do not need to be played with many fast strokes, In fact, you should roll as slowiy as possible, allowing the cymbal’s overtones to work to your advantage. This principle applies even on. crescendos. To choke or dampen the suspended cymbal, you should either pinch the cymbal with one or both hands, or press your abdomen into the cymbal’s edge so that the ring is immediately cut off ‘At times, you may need to play the cymbal with the tip of a drumstick. This can be done near the edge oron the dome of the eymbal ‘Tambourine—The tambourine is another instrument that can produce a variety of sounds. Itis com- monly associated with gypsy music. In concert band music, you should use a tambourine with a head. In pop music, you should use a headless tambourine. Make sure that the audience can see the tam- bourine while you play it. Playing sixteenth notes in the rock'n'roll style is very much like playing the maracas in that you imagine the tambourine moving back and forth between two brick walls. This time, however, you should strike the tambourine against your thigh to produce an accent on every ‘main beat. Here are some basic sounds and techniques used in tambourine playing: Basic Stroke—group your fingers and thumb together, then strike the head. Accents—sirike the head with your fist. Soft Stroke—rest the heel of your hand on the head, then tap your fingertips near the edge. Shake Roll--hold the tambourine in one hand and shake (oscillate) your wrist rapidly to achieve a roll sound. ‘Thumb Roll—wet your thumb, press it into the head, and apply a litle pressure as you go around the edge of the head. This technique takes time to develop.Percussion Book Page 46 209 ‘Triangle—Today, the triangle is thought (o be a soft instrument. However, in the late-nineteenth century, many orchestral composers used it in fortissimo sections of great masterworks. They did this because the high-pitched sound of the triangle would cut through the sound of the orchestra. To play the triangle, you need a good triangle clip, thin string (not shoelaces or twine), good beaters (not long nails or bolts), and a good triangle. It is common to strike the triangle on the clearest sounding leg, which is across from the slot. However, many orchestral percussionists like to play the bottom leg. because it produces many nice overtones. The triangle should be held face high so that its sound soars over the band. Your thumb and index finger should balance the clip, allowing the back three fingers to dampen the sound if called for in the music. Only in extremely fast passages should you fasten the clip to the stand and use two beaters, Triangle rolls can either be played at the top of the triangle or between the side and bottom leg. ‘Wood Block—The wood block is an extremely fragile instrument. Avoid overplaying it, and never use amallet that is too hard, The best sounding area of the wood block is at the edge of the slot toward the center of the block. Itis common to use a medium rubber mallet or the tip of a snare drum stick on the wood block. A trap table or a towel draped over a music stand top will hold the wood block if wo hands are needed during fast passages. Plastic blocks sound good and are a common substitute for wood blocks. An advantage to plastic blocks is that they are very durable. Accessory Exercises Patterns a. Ginsleen tase eS raier eee yj dj * { { 1 reneet | LO $l ys it oy oooh) See to pa20acs210 Student Pe Flute Fingering Chart © =open Instrumentalists use alternate fingerings in certain situations to achieve © = pressed down smoother technique. These are displayed after the more common fingerings. © ap D ie WD = 00/0005 = ‘BB2030S,Student Page 49 Oboe Fingering Chart Instrumentalists use alternate fingerings in certain situations to achieve smoother technique. These are displayed after the more common fingerings. BO Ch ke212 Bassoon Key Layout % i LeftThumb tet TH Ti B20acs Student Page 48 Left Fingers Right Fingers *Not all bassoons have these keys. re [Re eeeStudent Page 49 Bassoon Fingering Chart © =open @ =pressed down Ww =whisper key: = (huh. halt hole 213 Instrumentalists use alternate fingerings in certain situations to achieve smoother technique. These are displayed after the more common fingerings. D pt Eb ER = ocoloce s ® | COO|O00 oo BG oO o00|0ee@ Ou * ou Be e e e ° One BB2030sdent Page 4 Stud Instrumentalists use altemate fingerings in certain situations to achieve smoother technique. These are displayed after the more common fingerings ‘open pressed down ° e Clarinet Fingering Chart Be 900/000 = at @00}000 @00/e00 =, 28)000 B — @e0]000 a 7 eed}000 = eecioce “So00\000 Sb001000 = bo0!000 = 909/000, ‘009/000 a @00|000 = pB203cs25 Instrumentalists use alternate fingerings in certain situations to achieve smoother technique. These are displayed after the more common fingerings. open pressed down ° Bass Clarinet Fingering Chart e Student Page 49 ib _sveiseo er aeeices. ‘2001000 = eee|e00 = @00j000 = _e00|e00 =, 00/000 a @8o)000 =, eecjo00 = Sool000 secleee = ie ss 00/000 |p _eeclocery, = : zgeeioce 000/000 Kelele][ofele} arerr folk ares 00/080 = 1820308,Saxophone Fingering Chart pen Instrumentalists use altemate fingerings in certain situations to achieve = pressed down smoother technique. These are displayed after the more common fingerings. A RR BE ap D pom rE oF o fe bo ble BZ] oo0|0ce |p=| coolcce oocloeoe BB20308,Stunt Page 49 Trumpet Fingering Chart ‘© =open @ = pressed down cd a 24 & azascs.218 Horn Fingering Chart 4 = open ‘Top fingerings are for F horn. Bottom fingerings are for Bb horn. When playing double horn, engage the thumb valve to switch \- pressed down from the F side to the Bb side. 4s ai) bhh iy ny cb cl) ai) ci) (B60) HG G Gt ab A Ab Be ny Ob8 Su us Ws by ci) ID Ui) dit) BOC BEC ct Db D ‘Dt Eb {i 56 uu 80d ou cl) chad ib ct ii) BE OF OF ROG 6 ty 46 jh 0b chu) Ot ab) Qi BB20308,Snudent Page 49 219 Trombone Position Chart Numbers indicate slide positions. BC cobb D Di EP 2 lor6 5 4 3 2or6 lors 4 3 'BB20308,220 Student Page £9 Baritone B.C. (Euphonium) Fingering Chart @09 0090 eee 080 000 lee ee Gt ab A Ab Bb BOG BC cD ° ® oe 900 @00 oe0 900 8520308,Student Page 49 BB» Tuba Fingering Chart © =open @ =pressed down Ew ge fey Te) 00 900 Be2cacs,Mallet Percussion Note Chart Mallet percussion instruments are sometimes called keyboard percussion instruments because their bars are organized like the white and black keys on a piano. GE AL AP Bb OCH ODP DE OM Gb) Gt AD At Bh OCH DD ODE OG GEA OM Bb opere torr a Gt at ~ ct Bb Ds a Hla a a (Gy De EL ch | Stl at A By B gs E D © B A wie ——_ 820308The Authors 223 ‘Timothy Loest’s career as a middle school band director spans nearly twenty ‘years. He is currently Director of Bands at EE. Peacock Middle School in Itasca, Illinois, a suburb of Chicago, Mr. Loest also teaches fifth grade beginners at Franzen Intermediate School Mr. Loest received a Bachelor of Music Fducation degree, Magna Cam Laude, from Illinois State University, and a Master of Mustc Education degree from Northwestem University, where he studied under Peter Webster, Donald Casey, and Bennett Reimer, While at Northwestern, he received an Eckstein Scholarship as well as the School of Music's most prestigious graduate award, the Program Honors Award. A frequently commissioned composer and guest conductor, Mr. Loestis an exclusive writer for The FH Music Company Inc. His works for elementary and middle school bands have been performed in over twenty-five countries, including Australia, France, Germany, Great Britain, Italy, Jamaica, Japan, South Africa, Spain, Switzerland, and the United States. He is an ASCAP award winning composer, and his compositions and arrangements have been heard on numerous American network and cable television programs. ‘Mr. Loest is an advocate of the arts and holds membership in MENC, ASCAR Illinois MEA, the Illinois Grade School Music Association, and the Christian Educators Association International. Kevin Lepper is Director of Percussion Studies at VanderCook College of Music in Chicago, Illinois. An active freelance percussionist and educator in the Chicago area, his musical career has embraced a wide range of experiences, including the El Paso Symphony, the Cavaliers Drum and Bugle Corps, the Chautauqua World Music Ensemble, the Memorial Ragtime Marimba Band, and many commercial recording sessions. Mr. Lepper is a member of Phi Mu. Alpha and has numerous published works in the marching band medium. ‘He has published a series of educational percussion ensembles and two volumes of Boomwhatkers® ensembles written specifically for the junior high school and beginning high school performer.