Another way to approach

Music Education.
V1 01.01.16

by Steve Kloser

Copyright 2016 White Coyote Technology, LLC and Kokopelli Press – Portland, OR
US Copyright PAu 3-802-974
All rights reserved.
Freely distributable for non-commercial, educational use.
Simple Gifts
Beginning Band is an opportunity for you and for your students, to grow and to be amazed. The keys to
success are daily practice and scales. The reward is young musicians unifying to fill once-silent space
with music.

Anyone At All
This course is intended for a Music Teacher, or anyone with a musical inclination,
who is brave and selfless enough to lead Beginning Band. There are Appendices
that contains information about musical basics like conducting and clefs which is
meant to be a resource for you if teaching music, or teaching music other than
one-on-one, is a new experience.

By the time your students reach the end of this course, you will need to have
bought, borrowed or written some charts, as they will be able to work through
beginning band charts with your guidance. If buying band music is new to you,
ask someone for whom it is not new to guide you through it.

This course is written with an elementary school classroom in mind, but you can use this course any
place where you can gather at least five or six students that want to play.

Shoot For The Moon

• A goal of this course is to instill in our young people a sense of respect and etiquette for music,
musicians, musical instruments, and musical performances.

• A goal of this course is to help our budding musicians develop good habits now - at the
beginning of their musical explorations - for practicing, rehearsing,
performing, and listening.

• A goal of this course is for your students to learn about being a part
of a group; following a leader.

• A goal of this course is for your students to proficiently play

appropriately difficult tunes with a level of musicality while
following the Conductor and staying together as a group.
Take It Easy
Limit the number of wind instruments in Beginning Band to the following six:

1. Flute
2. Clarinet
3. Alto Sax
4. Tenor Sax (if the student’s hands are really big and strong enough)
5. Trumpet
6. Baritone (if the student’s hands and lips are really big enough)

• Guitars, violins, and other string instruments must have separate classes. Just the fact that
string instruments are naturally sharp-key instruments and most band instruments are
naturally flat-key instruments is enough to preclude trying to teach them together at this
level.

• Percussion is its own kettle of clams, and should be handled separately, if at all; having
beginning percussionists in the same class as beginning horn players will hinder everyone’s
progress. Beginning Band really doesn’t need percussion, and any of your students should
be able to quickly convert to percussion when they get to Middle School using the rhythm-
reading skills and practice habits they learned from you. If you feel compelled to include
percussion, allow only one or two second-year Beginning Band students (that played a horn
last year and have developed some good habits) to become percussionists. You will still
need to work with them separately to show them proper technique on the various
percussion instruments.

• Students wanting to play French Horn should begin on trumpet. The French Horn
mouthpiece is smaller, making it more difficult to play and build up chops. Additionally,
encouraging your student to discover if they will practice regularly and truly enjoy playing an
instrument while paying rent on a comparatively less-expensive trumpet will probably be
appreciated by their parents. It will be much easier for your student to move to French
Horn after building up trumpet chops for a year or two than to start out on the French Horn.

• If you have a student that wants to play the trombone, it will be easier for you and for them
if they start out on the Baritone. Fifth and sixth graders have rarely been accused of being
coordinated as a group, and the vision of a trombone slide flying across the room as the
result of a good honest effort to play low C is an image that will stay with you for a while.
Also, trying to simultaneously remember (or look up) slide positions along with valve
combinations and woodwind fingerings might make classtime less productive.

o Direct students to learn the Baritone F clef (concert) fingerings, as these correspond
with trombone slide positions and match tuba fingerings.
Money, Money, Money
Try not to let money be the reason a student can’t participate in Beginning Band. Ask your principal and
the classroom teachers if there are families for whom the cost of renting a horn might prohibit a student
from participating in Beginning Band, and seek their advice about how you might broach the subject
with them.

If necessary, there are ways to get horns into the hands of students whose parents cannot afford them.
Some are listed below:
 Send a school-wide note home asking everyone to clean out the closet and
see if they don’t find an old clarinet or trumpet that they’d be willing to
lend.
 Call all the Band and other Music teachers in your district to see if they have
any horns that can be checked out intra-school.
 While you have the other teachers on the phone, ask them to poll their
students to see if any of them have an old or otherwise unused horn at
home that might be lent.
 Ask your department head if there is any budgeted money that still needs to be spent.
 Contact the local service groups such as the Lions and Kiwanis Clubs. They may have money in a
dusty checking account just begging to be set free. The three or four hundred dollars it costs to
rent a horn for a year may be something they are happy to cover.
 Post a request on craigslist or other social media, and visit www.donorschoose.org.

Remember that it doesn’t hurt to ask. People know that financial support for school music programs
has been waning for years, and while they may be learning to live with it, no one is happy about it. You
may be surprised by your community’s generosity.

If you can arrange for a student to borrow a horn, share the information with the lender and the
borrower and let them facilitate the exchange on their own.

Remember to send classy, snail-mailed thank-you notes to everyone that lends or donates.

One Man Band

It is a good idea for you to have your own mouthpiece and reeds for each instrument in Beginning Band.
Hopefully you have a school budget that will cover the cost for the ones you don’t own. You will need
them to demonstrate, and to discern whether the problem your student is having with
their horn is with them or with their horn. For the flutes, have sani-wipes readily
available, and check with the student to make sure they are OK with you playing their
instrument after being sanitized.

Learn to play the first five notes that your students will learn on each instrument. These
will be (predictably) the easier notes to play apropos both fingering and air resistance.
Learning these five notes will enable you to demonstrate the five notes to your students
and help get them going. It will also enable you to do preliminary checks for leaks or
other issues on each horn. Your students are going to bring their horn to you when
something goes wrong with it, and the more you can take care of the simple stuff, the
less your students will be sitting in Beginning Band while their horn is at the music store.
One Man Band (with sidemen)
Call your friends, call in favors, call your mom if she plays a horn. Bring in people that play the
instruments you don’t play to help your students get going. It is usually best to bring them in one at a
time, each for the first part of a classtime, leaving time for your students to put into use with the group
what they have just been coached on. One, or maybe two visits by each of your friends should be
enough – perhaps your students will take private lessons from your friends.

The Right Thing To Do

Below are four guidelines with which members of any band or orchestra will be expected to comply:
1. Treat your instrument with respect and care. It is not OK to overblow your instrument.
2. Warm up before class begins. Once class starts students may only play when instructed to
do so by the Conductor.
3. Once class begins, instruments are either in resting position (in the lap or on a stand), or
playing position (raised and ready to play).
4. Stop playing does not mean start talking.

Even though we know how difficult it can be to break bad habits, sometimes students in beginning band
and/or pre-band (recorder) classes are not introduced to these guidelines, and allowed to toot pretty
much at will, instilling in them the worst habits at the precise time when they need to be guided to
develop correct habits. Do your students a huge favor, and be strict about these things now.

Practice Makes Perfect

Learning an instrument is roughly 90% reliant on practice, and 10% reliant on class or lesson time.
Classtime and lesson time primarily serve to identify to the student what to practice. Of course, the
more your students practice the better, but much more important is how they allot practice time;
specifically: a little every day is much more effective than a lot once or twice a week.

About 45% of what we do every day, we do out of habit. 1 The way you put toothpaste on your
toothbrush, tie your shoes, start your car, and countless other tasks, are things you do without thinking
about because you don't need to think about them, because they're habits. What we are going for here
is to create new habits, so that we don't have to think about playing an 'A' - we just play it. And just like
squeezing toothpaste, if you do it a couple times a day, every day, you'll not only get good at it, but
you'll become consistent.

Today's students have a lot to deal with. Neither they nor their parents are going to be too happy about
you adding to their homework load. However daily practice is essential to any success in Beginning
Band. So make it easy: fifteen minutes per day.

Each week (or every other week) send home (or make available online) a practice sheet containing slots
into which parents can write their initials, verifying that practicing occurred each day. Make sure that
the practice assignment is clearly stated.

Students’ grades can be based on a combination of 1) the percentage of parent-initialed spots on their
practice sheets, and 2) how well they play their scales. This empowers our students to earn their grade,
and not get a grade from you.

1
http://www.eurekalert.org/pub_releases/2014-08/sfpa-hwf080714.php
Listen to the Music
Make listening a part of every classtime. This is how your students can learn about expression and
musical emotion and virtuosity.

Bring in music that you like, and tell the students why you like it. Point out the especially musical parts
and suggest things for them to listen for. Keep that speech to 30 seconds, and keep the piece to three
minutes or so, and you have taken a mere four minutes of classtime to take roll, calm the students, get
everyone centered and in the room, and broaden the view of at least some of your students.

Don't limit yourself to classical music. Any music with appropriate

lyrics is fair game, as long as you like it and you can point out
things for the students to listen for. Afterward, if you can spare
another minute of class time, ask two or three students what they
liked or didn't like about the piece ... with the understanding that
each opinion be accompanied by 'why'. (The 'why' is what
matters. Learning to separate the parts from the whole and
evaluate both their contribution separately, and how the parts all
work together, is an important step.) Be firm about not accepting, "I dunno... I just liked it" as a
response, and pretty soon you will notice your students’ wheels turning as they listen.

The Fundamental Things

What if there were no books, no computers, no phones or other screens? No written word? How would
we teach? What would we teach? How did we learn? Are we ignorant? Or educated?

We would still be teaching music. A calling is a calling.

OK – so once your students can play the first five notes, what are today’s lesson plans?

• After demonstration, students will be able to hold their instruments in both ‘playing
position’ and ‘resting position’ and do so in response to hand signals from the Conductor.

• After demonstration, all students will play a designated note; separately and together as a
group.

• After instruction, all students will be able to start & stop playing a note by following cues
from the Conductor.

• After instruction and practice, all students will play a note in groups (of four or three) while
watching the conductor conduct a pattern, and while staying together as a group.

Those are fundamentals.

Paperback Writer
The people that manufacture textbooks and other educational materials, of course, want schools and
students to buy as many of their products as possible. They need to sell a book to every teacher and
every student in order to prosper. Since their products (can) only provide knowledge and wisdom that
can be presented via their product, the people that make the method books have no choice but to make
the primary focus of them about reading music, though the stated purpose of the book is to teach
students to play an instrument. We know full well that there is a
heck of a lot more to making music than reading notation.

Because of the stronghold publishers have on the marketplace

and the conventional wisdom that ‘learning comes from books’,
publishers propagate the notion that the knowledge and wisdom
presented via their product is all there is. Worse than that, we
sometimes become either so complacent or overworked or
conditioned that we begin to believe that we need textbooks to teach; that we cannot do it without
them. But you really don’t need textbooks to teach music any more than you need a method book to
learn to play an instrument. Not that they can’t be useful as reference material; but their method is
largely to stare at the method book, which besides being self-serving, actually thwarts the musical
growth of your students.

Look At Me
Having our students learn to stare at a book while trying to making music, prior to them learning to
watch the conductor, is preposterous. It’s like cooking students learning to prepare all the ingredients
to create a soufflé without understanding that they need an oven and heat in order to bake it. Book
publishers are doing what they feel they need to do to stay in business, and most are doing the best job
they can, but let’s not confuse that with what is best for our students.

Making music is about expression, and motion, and watching the conductor. Let's start there.

Let's develop the habit of watching the conductor and glancing at the music, instead of gluing eyes to
the music and forever more being implored to "look at me!"

Let's worry less about trying to finish a curriculum or pushing through a book in order to 'stay on track',
or play the more difficult tunes, and worry more about whether the students are playing the simpler
tunes well - musically, together.

Every Good Boy Does Fine

Our system of musical notation is not perfect, but it has been refined over centuries,
and it works pretty well. It is logical, and flexible, and not very difficult at its core. It
makes sense. Teaching students Every Good Boy Does Fine as a way to remember
which notes go on which staff lines when employing a G clef, turns an elegant,
rational system into a seemingly arbitrary system, serving only to give our students
something else to memorize instead of comprehend.

By taking the time to look at what’s really behind those lines and spaces; learn how
they came to be, and discover how five little lines can serve to represent notes from
tuba low to piccolo high and beyond, we empower our students with understanding
and ability that does not fade.
Up, Down, Left, Right
Up means higher.
Down means lower.
Line, space, line, space, line, space, etc.
ABCDEFG then start over ABCDEFGABCDEFG

These are the only four concepts that are required to gain a basic understanding of the notation system,
and to begin reading music. Once students understand the relationships between the lines and spaces;
that any note can be DO and the note above that one will be RE, they can read music. If, instead of
directing our students – for expediency’s sake - to learn to read only the clef in which the parts for their
horn are written, we take some time to explain and work with the concept that the G clef denotes a
starting point of G, the F clef a starting point of F, and the C clef a starting point of C, they can read
almost all music! They will read it slowly and painfully at first, but they will be able read it.
And that is education.

Do-Re-Mi
It is important to remember that there was music before the piano. Musicians playing wind and string
instruments using combinations of intervals that created scales and tonality were looking for gigs long
before we had white keys and black keys.

Learning music theory without using the piano helps decrease a bias that referencing the piano creates.
Since the white keys on the piano are the notes in a C scale, it is usually the first scale everyone learns to
play on the piano - it is the easiest to play. Adding a black key makes playing a scale more difficult.
Adding two black keys makes it even more difficult, and so on - at least that’s how it may have seemed
as a youngster, and those childhood notions tend to stick.

The black keys are smaller than the white keys, and the black keys are behind the white keys – both
signs of diminished importance, as if the black keys are subsidiaries of the white keys. This is reinforced
by the notation system, where the black keys do not have a place of their own on the staff, but are
reliant upon their relative position to a white key for identification. However, Eb is not an ancillary
division of E!

Recorder lesson books tenaciously stay in the key of C even though C4 and F4 are much more difficult
for young fingers to master than F#4 and C#5. Although it is utterly logical to write the little tunes in the
key of G and later D, authors diligently keep them in the key of C. Is it more important to avoid notating
a sharp on the staff, or to direct your students to play a note they’ll have a better chance of playing well?

Because we and our teachers grew up with the piano and learned theory using the keyboard as our
point of reference, we share and dutifully propagate a Key of C bias. To some degree it impedes
creativity. Wouldn’t it be MUCH better if all twelve keys were equal in the mind? You’d like that too –
right? We all would.

Teach using the chromatic scale. All notes are equal on the chromatic scale. Learning each scale as an
entity unto itself - a collection of whole and half steps – instead of a variation of what was once a C scale
that now has black keys too, will give your students some measure of freedom from the Key of C bias
that surrounds us. It will also give them a better understanding of keys, when the time comes, than ‘the
next to the last flat’. In fact, if you teach that the key signature indicates a scale and not a key, it will be
easier for your students to adapt and abide by them. See Appendices O2 and P2.
Giant Steps
On the first page or two of any popular instrument method book, students are
directed to learn the staff (including ledger lines!), measures, and bar lines,
while simultaneously trying to get a pleasant sound out of an awkward piece of
musical machinery for the first time. The next page includes the briefest
possible explanation of the beat, the divided beat, quarter notes and rests.
The next page includes a little insert that takes up about one fifth of the page,
in which the students are presented with a clef (only one), time signatures,
note names, and accidentals.

So by the fourth page of most popular method books, students are expected to play a tune on an
instrument they are still learning to hold, while reading standard notation including notes and rests on a
staff with a clef, accidentals, a time signature and a repeat sign. This is absolutely irresponsible.
Expecting students of any age to absorb, understand and put into practice the near totality of our
notation system based on less information than it takes to fill one page is not only unreasonable, but
unwise. And unnecessary.

Learning to play an instrument and learning to read music are two different things. Very different. Yes,
they go together, but they don’t need each other, as the countless blind musicians that could not read
but that could surely play, attest. The goals for this course stated above do not reference nor are they
necessarily dependent upon, reading music.

First Things First

Let’s help our students get comfortable with their horn – to ‘make friends with it’ – before we ask them
to worry about lines and spaces! Let’s put watching the conductor above staring at paper. Let’s
encourage our students to play simple tunes beautifully.

Use Me
Developing good habits now is the goal - not completing the course on a timeline. Your students may
get through this course in a semester, or it may take two years - it doesn’t matter. Do they watch you?
Do they listen to/for each other? Can they play their scales? Those are things that matter.

This course assumes that your students have had minimal music
education to this point. However, if your students are very proficient at
reading rhythms, you may wish to simply review those sections of this
course.

Augment each segment of the Classroom Activities with Rhythm Activities

and daily listening.
The Gift of Song
There are two things that you can do to help ensure that your school will continue to make music a part
of the curriculum: be good, and be visible.

Be good:
The average listener will not be able to determine the difficulty of a piece by hearing it, and more
importantly, playing difficult music is not one of the goals of this course. However, the average listener
will absolutely be able to determine whether or not what they are hearing is pleasing. Choose music for
your group that is a half notch more difficult than their ability, thereby giving them the opportunity to
win while encouraging growth. Coach them to play it beautifully.

Be visible:
At some point, your Beginning Band will start to sound OK, and they will be able to play a couple tunes
well. When this happens, start showing them off.

There is a tale of a young choir teacher that brought his newly-formed choir to the school district
Superintendent’s office three times a year, every year. Each December their visit included a full 20
minute Christmas program. For some reason, his requests for new robes, new risers, new folders, and
scholarship monies for tour almost always got approved.

Granted, it easier to schlep a choir around town than a band, but most of the Beginning Band
instruments are small ones, and your group will probably fit on one bus. Some field trip ideas are listed
below. Grab a stack of bus request forms, and fill them out – if the worst thing that can happen is that
they don’t all get approved, you don’t have much to lose! Most of these suggestions are for the spring
term, after your students have a couple tunes under their belts.

• Do a tour of two or three retirement facilities in a fun day with a lunch stop for pizza. Stop
by the school district office for a quick number!
• Hospitals often welcome groups that want to entertain patients.
• See if you can get the high school band director to allot one rehearsal for your students to
sit in. It is a lot to ask – to give up an entire rehearsal – but chances are good that a student
or two of yours will begin to think about joining band in high school on that day, and the
high school Director knows this!
• Sometimes shopping malls have a stage where local groups perform.

Also:
• Invite the Middle School band to come to your school & play, so your students can meet the
MS Band Director and see how great Middle School Band is.
• Invite local groups/musicians to speak to and play for your students. Of course the better
musicians may want to get paid, and if you have a budget for such things you are a lucky
one. But many musicians – especially those with kids of their own – will do it for the good of
the order if they can.
• You must need something – a sound system or some percussion instruments, so do a fund
raiser. Make it a one-day deal like a free car wash, and have one of your parents take care
of the money. [Never deal with the money. Band parents are great parents, and one of
them will be happy to take care of the money.] How much you raise isn’t the point. The
point is to be visible; let everyone know that Beginning Band is a real deal.
Scales and Arpeggios
The keys to success are daily practice and scales. Their importance cannot be overstated. Include scales
in every single classtime. Use them for warming up, for practicing stylistic touches like staccato or
crescendos, and for practicing rhythm patterns and figures. Make sure that scales make up a significant
portion of your students’ nightly practice routine.

One Step at a Time

The Classroom Activities that follow are meant to be done in sequence, but there is no prescribed
timeline or completion expectations. There is plenty of room for you to make adjustments as
schoolyear irregularities necessitate and your students’ overall progress dictates.

There are support materials in the Appendix, and you can always insert a Rhythm Activity if classtime is
running long, or if half your Beginning Band is taking a state-wide test.

Your students’ practice sheets are up to you. Appendix A is a suggested form. Make sure you are very
clear at the end of each classtime about what the practice material is for the next few days. Especially at
the start of this course, before the staff is introduced, write the assignment on the practice sheet in
plain English that the parents can understand, always using as few words as possible while still able to
get the point across.

Consistency
Remember that the stricter your routine is, the more classtime you’ll be able to spend educating. If you
always say, “Good Morning! Horns in resting position please!” at 10:00 sharp for a 10:00 classtime, your
students will be ready to start at 10:00 after just a few classtimes. If you are sitting at your desk, or
coming back from the teacher’s lounge, or checking your email when classtime starts, you will lose five
to seven minutes of classtime every class.

Suggested Classtime Routine:

• Start right on time every time, even if you are a person for whom this is a challenge. It is
important.
• Warm-up the band
• Present the day’s music for Listening
• Work on a piece that is familiar, but needs work
• Work on the new/hard stuff
• End with something fun, or something your Beginning Band likes or plays well, OR prior to the
end of class, start polishing a piece, so class ends with the glorious result of everyone’s hard
work.
• Ending on time is just as important as starting on time. This demonstrates to the members of
any group that you are organized, and more importantly that you respect everyone’s time and
other obligations.

The driving force behind this course is you. Use your imagination. Tell your stories. Share your
favorites. Never worry about how long it takes for your students to complete an activity, and only move
on when you feel the class is ready to move on. Developing good habits now is the goal.

If you have questions, direct them to sales@kokopellipress.com. Thank-you for using this course.
 Classtime Activities

Using These Activities

The activities are meant to be explored in the order in which they are presented. They are meant to be
augmented by liberal use of the Rhythm Activities, along with consistent Listening Activities. The un-
italicized text contains information about an activity.

 The italicized and bulleted text are meant to be shared with your students as classroom
activities.

As you work through the course, make sure your students’ practice assignments are currently germane
and clearly defined. Assign additional practice material, solos or duets, as you deem necessary.

Getting Started
The first classtime. Your students are dying to get those horns out and start tooting. Make sure you
give them a chance to do that, but initially direct them to leave their horns in the case and take a seat so
you can get all the admin stuff out of the way. Depending on how many students you have, you may
want to develop a seating chart, but it is often enough to simply direct your students to arrange
themselves with the flutes in the front, the clarinets and saxes behind them, and the brass behind them.
Your students will not be using music stands for the first section of this course, which will simplify things
as you begin.

Communicate Expectations
Gently, but firmly, explain to your students that Beginning Band is not ‘an easy A’. Let them know that
they are expected to practice fifteen minutes per day, and that each week they will bring home a
Practice Sheet to have initialed after each practice session. The grade for the class will be based partly
on the Practice Sheets and partly on playing scales. Wrap those expectations in your positive hopes and
ideas and happy thoughts for Beginning Band, and talk about them with your students.

Paperwork
Send a letter home to parents that succinctly describes your goals for the year, explains the practice
sheet and grading system you will be using, and contains information about the supplies each student
needs, including oils and waxes and cleaning supplies for the horn, as well as a three-ring binder. Also
include a spot for parents to sign the letter, acknowledging that they read it, with instructions that it be
sent back to you via the student. Save these.
The Proper Care & Feeding of Musical Instruments
Depending on how long your classtimes are and how many students you have, you may need to
postpone this for a classtime or two so your students can start playing their horn during the first
classtime. But at some point very soon, make sure that every student knows how to assemble,
disassemble and clean their instrument. You can do this one by one, or in groups. If it is a rented
instrument you can be pretty sure that your student was shown how to care for it at the music store,
but you will be helping yourself to see it with your own eyes. If you can get a couple parents or another
teacher to help, it will obviously go more quickly.

 Hand out Appendix B, which has information about the care & cleaning of each instrument.

Playing a wind instrument comes with spit. Nothing we can do about that. Without going into too much
messy detail, make sure your brass players know that they need to carry a couple rags, and that they
must regularly end up in the laundry basket at home.

Floor stands help reduce accidents, and are a good thing for students to include in their holiday wish
lists.

Let There Be Sound

Your students’ three-ring binders will become their personalized method books, and can also include
notes, memory aides, and other material that each student finds helpful.

 Direct your students to put all handouts in their three-ring binder, and encourage them to retain
any other material that they deem helpful as they build their own method book.
 Separate your students into three groups: flutes, the other woodwinds, and brass. Help any
students that need assistance putting their horn together.
 Hand out Appendix C, which has information about embouchure, and Appendix C1, which has
information about tonguing, and review them with the class.
 Go around the room and help each student get a sound out of their horn. Any sound is a good
sound right now, so don’t be too picky yet. Everything is new! Running out of breath and buzzy
lips and holding down keys and covering holes … it’s a lot. Help one student at a time until they
can help each other. Be patient and positive.

The first five notes the students should learn for each instrument are listed below. The first note in each
list is one of the easier notes to play on each horn, so start with that one. You don’t really need to
name the notes you’re asking them to play yet. Once your students can play the first note in the list,
help them play the next note or two in the list, and then switch between them.

Flute: C5, D5, Eb5, Bb4, F5

Clarinet: G4, F4, E4, D4, C4
Trumpet: C4, G4, D4, E4, F4
Sax: G4, A4, B4, C5, D5
Baritone: F3, Bb2, C3, D3, Eb3

Please note that these lists all represent the first five notes in a concert Bb scale.
  Hand out Appendix D, which is a fingering chart for The First Five Notes. Help each section
reconcile the graphical representation of the horn with the actual horn, so that the fingering
charts makes sense to your students.

It may take a couple classtimes before everyone can play The First Five Notes, and that is OK. At this
point we are simply working toward:
• Your students being comfortable with their horn; holding it, putting air into it, cleaning it,
getting to know it.
• Your students being able to play the first five notes.

Developing Good Habits – Breathing, Posture, Embouchure Work Together

 Hand out Appendix E, which contains information about breathing and posture, and review it
with your students.
 Hand out Appendix F, which explains long tone exercises, and review it with your students.
 Hand out the first practice sheet, with clear written instructions describing what your students
should be practicing, including the first five notes and long tone exercises.
 Let your students know that it is very OK to experiment with fingerings, air pressure, and
embouchure adjustments.

Developing Good Habits – Either Playing or Resting

Once out of their cases & assembled, instruments should be either held in the lap in resting position, or
held in playing position. When your students stop playing, their instrument should return to resting
position without delay. Appendix G illustrates proper Playing Position.

 Give a short lecture on resting & playing positions and detail your expectations.
 Demonstrate the hand signals you will use for:
 Instruments up into playing position.
 Instruments down into resting position.
 Direct your students to move their horns from resting position to playing position and back
again, several times.
 Lead the class in singing “Mary Had a Little Lamb” per Appendix H.

Mother Nature is a Musician

Without going into too much detail about particular instruments, introduce the idea of instrument
transpositions. At this early stage, we want our students to have a general understanding of why the
flutes play ‘C’ while the trumpets play ‘D’ to get the same sound/note.

All you really need are two tubes of different lengths. If your
school has already purchased tuned tubes as part of your
percussion instrument arsenal, then you are in Fat City.

Simply ‘playing’ two of the tubes will clearly demonstrate

that the length of the tube affects the pitch. Liken the
lengths of the tubes to the length of two similar instruments (e.g. different members of the sax family, a
soprano and alto recorder, or a flute and piccolo), and don’t make it any more difficult than that. Avoid
comparing brass instruments, as pipe diameter is also a factor, and less easy to explain.
If you don’t already have some sort of tuned tubes at your disposal, be creative. You can get a couple
pieces of PVC pipe very inexpensively at the hardware store. Depending on length and diameter, you
can hit them in the same fashion you would hit those store-bought tunable tubes, or you can buzz into
one end using your trumpet embouchure. Or you can bring a trumpet or baritone mouthpiece to the
hardware store and find some PVC pipe into which your mouthpiece will fit (or at least go into the pipe
and make a seal). Using a mouthpiece, you might even be able to play an octave top & bottom, and the
fifth in between.

Two different sized drums will also help make the point, as will clinking different sized water/wine
glasses. A related and uncomplicated demonstration is to shorten and lengthen a string on any string
instrument by touching different frets or positions on the fretboard.

Staying away from the word ‘key’ for the time being, call the note you get from each tube or open string
its ‘home note’. Direct each student to play what they reckon is the ‘home note’ on their instrument,
and help each student/section play the ‘home note’ for each horn. You can direct two, more, or all
students to play their ‘home note’ at the same time – more for fun than anything, but it will reinforce
the reasons why the flutes play ‘C’ while the trumpets play ‘D’ to get the same sound/note.

While working with your Beginning Band, whenever you want your students to play particular scales or
notes, you will have to give three pitches – one for flutes and baritones; one for clarinets, trumpets and
tenor saxes; and one for alto saxes. Learn to give the pitches in the same order every time (concert
pitch first, then up a step from concert for the Bb horns, then up a sixth from concert for the Alto Saxes),
so your students will know what scale/note to play.

Classtime Activity 4 – Togetherness

If conducting a group is new to you, review Appendix I for the basics, and a
couple tips.

 Demonstrate the hand signals you will use to indicate:

o Begin playing - downbeat
o Stop playing
 Bring your students' instruments to playing position, cue them to
play concert Bb, cue them to stop playing, and cue them to return
their instruments to resting position. Repeat several times.
 Divide your students into two groups, direct them to stay in playing
position, and direct each group to alternately play (concert) Bb on
direction.
 Bring your students' instruments to playing position, cue them to play concert F, cue them to
stop playing, and cue them to return their instruments to resting position. Repeat several times.
 Direct your students to play concert Bb when you raise your left hand, and play concert F when
you raise your right hand. Repeat several times.
 On the whiteboard, draw two symbols, for example a circle and a square or a bird and a cow,
and identify one as ‘play concert Bb’ and the other as ‘play concert F’, and randomly point at one
or the other, and direct your students to play the corresponding note.
The Pulse
The goal of this activity is for your students to play groups of notes to a beat,
staying together by following the Conductor as you conduct a pattern.

 Introduce the word 'pulse'.

 Using input from your students, create a list of things that have a pulse.
o Clock / Watch, Oil pump, you, windshield wipers, pendulum, lawn sprinkler, fan,
jack hammer
 Talk about the pulse in music. Play excerpts from recordings where the
pulse is obvious. Discuss the Conductor's role in defining and keeping the
musical pulse, called the 'beat'.
 Demonstrate conducting a 3 pattern and a 4 pattern. Point out that the upbeat and downbeat
are always the same, no matter how many beats in the group.
 Direct your students to play concert Bb, then concert F, in groups of three, then groups of four, as
you conduct.
 Direct your students to stay together while following your conducting, playing concert Bb and
then concert F, for three measures each.

For the duration of this course, whenever you need to fill a few minutes of classtime, or a large
percentage of your class is absent, or you just need to change it up, you can work through the Rhythm
Activities, practicing Tees and Tahs.

The First Five

Once your students can play concert F and Bb as outlined above, they are probably getting close to
being able to play all of The First Five Notes. (The first five notes should be the focus of their daily
practice.)

 Direct your students to raise their horns into

playing position, and together play the first five
notes in sequence from lowest to highest, one at
a time on direction. Take it slowly, and make sure
everyone is with the group.

 Direct your students to play their partial Bb scale

with a pulse, while following the Conductor.

 Direct your students to together play the first five

notes; in sequence from lowest to highest and
back down, one at a time on direction.

 Direct your students to play their partial Bb scale with a pulse, in sequence from lowest to
highest and back down, while following the Conductor.
Breaking Up is Hard to Do
Crossing the ‘break’, or the transition between the lower and middle registers of the clarinet, can be
challenging, especially for Beginning Band students. The break is between the first register (called the
chalumeau register) and the second register (called the clarion register). As it pertains to the concert Bb
scale, the break occurs between A5 and B5.

If you have easy access to a clarinet, it is a good

idea for you to practice playing a C scale for a
few minutes each day so you can get a good idea
of what your students are up against. The
difference in back pressure between playing A4
and B4 is fairly significant, and it takes work to
make it sound smooth. You’ll need to make sure
that you're blowing enough fast air to make B4 and
C5 sound.

Players should keep their embouchure as free and

open when playing in the clarion register as when
playing in the lower register, and not "clamp
down”, which will cause squeaks.

It can also be a challenge going from covering one

or two holes, to essentially covering all of them; if
all the fingers do not fully cover the holes when
playing B4 and C5, this will cause some squawks &
squeaks. Your students (and you!) can overcome
this by going back and forth between the
fingerings for A4 and B4 without putting air into
the horn. You can do this while watching TV – it is
all about the muscle memory.

This is pertinent at this juncture in the course because the next step is for your students to begin playing
a concert Bb scale. Crossing the break will make this more difficult for beginning clarinet students than
for the other instruments, and they may get frustrated.

The thing is that while fingerings and airflow are important factors in being able to cross the break, it is
largely about building up chops, and that takes some time – no two ways about it. Explain this to your
students, reinforcing the idea that practice makes all things easier, and set reasonable exceptions for
them. In this case, daily practice for two weeks or so ought to enable your students to play that scale.
But don’t spend too much attention on this – they will get it when they get it, as long as they’re
practicing. In the meantime, they can jump down to B3 and C4 to finish playing the scale, if they like. 1

1When your students are ready (not necessarily today, because the tips are a bit sophisticated), hand out Appendix J, which
offers some Tips for Crossing the Clarinet Break.
Scales
As mentioned a couple times already, the key to your students’ success is scales. Over the course of a
school year, in conjunction with this course, the goal is for your Beginning Band to be able to play at
least seven of the twelve scales - nine if they get on a roll.

In order to introduce the concept of scales, we must first make sure that our students are clear about
what an octave is. Going back to the idea that Mother Nature is a musician, demonstrate that the
octave is a phenomenon of nature; that humans merely took what was there and divided it up! There
are countless ways to demonstrate the natural octave, including:

• Get your PVC pipe out again, and lip an octave.

• Play a brass instrument (without manipulating the valves) and lip an octave (or two).
• Using any string instrument, play the string and then touch it in the middle and play it again.
• Your tuned tube for the top of the octave will be half as long as the tube for the bottom of the
octave.

For a demonstration of octaves that neither you nor your students will ever forget,
spend the 99¢ on amazon or iTunes to buy “A Night in Tunisia” by Arturo Sandoval from
his CD entitled “Dear Diz” and play his incredible cadenza for your students.
That will do the trick.

Once your students have a good idea of what an octave is, we need to divide it up for them.
This is best done using a guitar.

 Explain that in our ‘Western music’ the octave is divided into twelve parts/pieces/intervals. This
is very easy to see and demonstrate using the frets on your guitar (or ukulele). If you are
comfortable with your students touching the guitar, direct them to play a note and move up (or
down) the frets until they reach the other end of the octave. Otherwise, make sure you do the
demonstration enough times so that all your students really ‘get it’.
 Inform your students that the interval from any fret to the next fret is called a ‘half step’, and
that two half steps make up a ‘whole step’.
 Hand out Appendix K, which displays The Chromatic Scale, and talk about how the note names
start over at ‘A’ after ‘G’.

You may have a student notice that while there is a C#/Db combination, there is not a similar B#/Cb
combination, and ask why. One way to answer to the question is, ‘because there is no black key
between B and C on the piano’. Another way to answer might be, ‘because the system evolved more as
a result of need and less as a result of planning, so it isn’t perfect’. 2 The more we can encourage our
students to think in terms of lines and intervals instead of black keys/white keys, the better chance they
have of being able to think equally in all keys.

Of course there is a B# and a Cb, but that’s a discussion for another day.

2In the thirteenth and fourteenth centuries, most keyboards consisted of what we would call the naturals, or white note keys,
with the church modes as the basis for the musical system. The interval between F and B, was considered discordant, so the B
was often lowered, adding Bb. Eb probably came next, then C# and finally G#.
  Hand out Appendix L, which is the Chromatic Worksheet. Either work through it with them or
assign it as homework.

 Go through the answers for the questions on the Chromatic Worksheet with the class.

 Do a little oral review:

o How many intervals in an octave?
o How many half steps in an octave?
o How many whole steps in an octave?
o How many half steps in a whole step?
o Etc.

 Define ‘scale’ for your students as ‘a combination of half and whole steps
that end on the note an octave higher than the first note’.

 Play and identify a few different scales other than major scales for your students, starting on
various pitches.

If it is practical, based on the number of fretted instruments you have at your disposal, how many
students you have, and how long classtime is, direct your students to build the scale most familiar to
them, and see if they can come up with whole, whole, half, whole, whole, whole, half by trial and error.
If conditions dictate that you merely give them the pattern, that’s OK too. 3

 Direct you students to determine what three notes, when added to The First Five Notes, will
create a major scale. Use Appendix O, the Complete the Major Scale worksheet.

 Hand out Appendix P, that includes all the notes in a concert Bb scale. Your students’ practice
assignment is (of course) to finish learning to play the concert Bb scale.

 Talk with your students about why 1 comes after 7; liken it to A coming after G. Make it clear
that any note can be 1, and that the whole/ half step pattern is always the same, regardless of
the starting note.

You don’t want to get bogged down in theory right now … but, if your class gets into this, and you want
to reinforce it, you can draw the whole/half step pattern for a major scale on the board, and direct the
class to build a major scale starting on any note you choose. Optional!

3For future reference, Appendix M has graphic representations of a few scales that you can hand out when your students are
ready for it. If you have advanced students, you can share Appendix N with them, which illustrates the pattern for four Modal
Scales.
Settling Into a Groove
Henceforth, start each classtime by warming up, using scale(s). You can either do listening first and then
warmups, or vice versa; just get in a pattern right away and stick to it.

It will take a little while before your Beginning Band can actually get through the Bb scale from top to
bottom. Start by directing your students to raise their horns into playing position and play up the scale
one note at a time on direction; give your students time to gather themselves after each note. When
ready, progress to your students playing up the scale and then down again, on direction.

The next step is for your students to play the scale in time, while you beat a (slow) pattern. Once your
students can play the scale by sounding each note once for each beat you conduct, direct your students
to play each note twice for each beat you conduct. Alter the tempo, play it softly going up and loudly
going down, stop and restart in the middle, make a game of it. Remember that a goal of this course is
for your students to proficiently play appropriately difficult tunes with a level of musicality while
following the Conductor and staying together as a group.

As your students learn more and more scales, include each in the warmups every classtime.

A Tune
In the meantime, while your students are practicing their first scale, let’s play a tune!

 Again reminding your students that any note can be 1, direct your students raise their horns into
playing position and play their first five notes in response to the number of fingers you raise,
using concert Bb as 1. Start by raising 12345 in order, up and down. Then mix up the numbers.
Make it fun.

It is important to overstate the idea that any note can be 1. We don’t want our students to become Key
of (concert) Bb biased any more than we want them to become Key of C biased.

 Go to the board, and write a series of numbers between 1 and 5 (inclusive), in a random order.
Direct your students to raise their horns into playing position, and play each note as you point to
it. This procedure is hereinafter referred to as Point & Play.

 When ready, direct your students to raise their horns into playing position and play the same
series of numbers, in time, as you conduct a pattern. Do this several times, using varied tempos,
unexpected stops and starts, holds and pauses, variably big arm motions through understated
hand motions, and finally playing the complete tune
musically and (relatively) expressively. This procedure is
hereinafter referred to as Conduct & Play.

 Erase the board and write the series of numbers that

represent the tune “Mary Had a Little Lamb”. Explain that
when the numbers are tied together they last twice as
long. Point & Play. Conduct & Play. See Figure 1.
Watch, Listen, Play – in that order
It may seem like an overstatement to say that playing is less important than watching and listening -
after all, if there were no playing, there’d be no playing! But without watching and listening the playing
can only hurt the overall musicality of the piece and the combined efforts of the group – even if it’s just
a Bb scale.

 When your students can get through the tune pretty well, direct them to raise their horns into
playing position and play “Mary Had a Little Lamb” with their eyes closed (you’ll need to count to
get them started).

 Ask your students what was easier and what was more difficult about playing with eyes closed.
Direct the discussion to the point that staying together is helped more by watching, while the
balance in volume between instruments, the way they blend together to make a unified sound,
and the changes in volume and intensity are all helped more by listening.

 Conduct & Play “Mary Had a Little Lamb” a couple more times for practice and reinforcement.
Record it, even if just on your phone. Perhaps direct each section to play it one by one, or direct
everyone that is wearing blue to play it, etc. Add “Mary Had a Little Lamb” to the concert Bb
scale as part of your students’ daily practice, making sure they are listed on the current practice
sheet.

It is somewhat unorthodox to ask students to practice a tune for which they have no paper to look at.
You may get second-guessed or questioned/challenged about it by parents or administrators. If so,
acknowledge that it is unorthodox, but not unreasonable. After all, we’re talking “Mary Had a Little
Lamb” here, not a Mozart concerto. Chances are very good that half your students had already figured
out how to play “Mary Had a Little Lamb”, and that the others can play it now, so asking them to
practice it without paper to look at is a natural next step.

Whether or not it is politically correct to say so out loud, we are working to condition our students to
watch the Conductor when they play. If we don’t consciously take steps to condition our students to
employ productive habits, we will by default be taking steps just as severe and long-lasting to condition
our students to employ less-than-productive habits. The time is now! What your students learn right
now from you will either serve or plague them for the rest of their musical lives.

If your students can play a tune without music, they can practice it without music. And if they practice it
without music, they can think about smoothness, and tone, and air, and embouchure and all the other
things that are detracted from by staring at paper. And when they get to class, they will watch the
Conductor!

Send a note home to parents reminding them that they are invited to any classtime, and that you are
available to talk if they have any questions. This surely isn’t how mom and dad learned to play the
clarinet, and they may be confused. Feel free to give them a copy of this course.

 During the next classtime, play “Mary Had a Little Lamb” in many
different ways: slow; a little bit quick; loud; soft; soft then loud;
focusing on smoothness; like a march; etc.
 In the same classtime, move on to the next activity.
Tune Two Too

 Erase the board and write the series of numbers

that represent the tune “Jingle Bells”. See Figure 2.
Point & Play. Conduct & Play several times. Record
it, even if it is just on your phone.

 Add “Jingle Bells” to your students’ practice

assignment.

Sometimes it is a Struggle
Although these first two tunes are short, sweet, and widely-known, you may have a student that is
struggling with and/or grousing about trying to practice playing them without something to look at.

Each of us has a preferred learning method; either by reading, watching,

doing, or listening, and it is possible that your student leans very heavily
toward learning by reading.

Check in with your two most valuable assets – the student’s classroom
teacher and their parents – to see if you can gain some insight. If either
the classroom teacher or the parents confirm that your student is a
reader, give the parent copies of Figures 1 and 2, and ask them if they
can help their student practice. Chances are good that the parents will
be familiar with the way their child learns, and can help them get
through this initial phase of the course.

• If one of your students is struggling because they are not familiar with these tunes, there are
recordings of these tunes posted on our website at www.beginningbandproject.com.

• If one of your students can play “Jingle Bells” perfectly when the numbers are available to look
at (on the board), but just cannot play it ‘by heart’, you may want to give them a copy of Figure
2 to take home so they can have productive practice sessions.

• If one of your students is struggling simply because they are not practicing, talk with them and
try to get their parent(s) more involved.

There will be times when strict may need to bow to purposeful; stubbornness to wisdom; and staying
the course to making an exception. But generally speaking, it is usually easier for you and less
distracting for your students to keep everyone working on the same thing at the same time in the same
way as much as possible.
Movin’ On
You (still) don’t want to get bogged down in theory right now … but, if your class enjoyed building scales,
as an introduction to the concert F scale that is about to be handed out, you can draw the whole/half
step pattern on the board and direct the class to build a major scale three times; starting on F for the
flute & baritones, G for the trumpets, clarinets and tenor saxes, and D for the alto saxes. Optional!

 Hand out Appendix R, that includes all the notes in a concert F scale. Add this to your students’
practice assignment.

Now is a good time to bring in your friends for their second guest appearance to check embouchures
and fingerings.

The concert F scale has one new note and three that are lower than the notes in the concert Bb scale.
You will probably need to go around the room and help your students with fingerings. Your students
will need to put more air into their horns as the notes get lower. It is usually easiest to start playing the
lower notes by playing a note in the middle register and working your way down, keeping the air flowing
through each note.

At least at the onset, some of your students may need to ‘jump the octave’ to play the concert F scale.
For example, the trumpets may need to play
G4, A4, B4, C5, D4, E4, F#4, G4 instead of
G4, A4, B4, C5, D5, E5, F#5, G5 or
G3, A3, B3, C4, D4, DE, F#4, G4

 Go slowly, slowly at first, giving your students time to regroup after every note, especially if they
do have to jump the octave.
 Before the classtime is over, get things calmed down, direct your students to raise their horns
into playing position, and give the concert F scale a shot. Make very sure that your students
know what they are supposed to be practicing - two scales and two tunes – and end the
classtime by playing the two tunes.
 Always plan rehearsal so your group members (choir or band, student or adult) leave the room
humming or singing.

Plan things so that you end the week with reviewing this section. This is a good time to triple check
embouchures and finger positioning.

Next Classtime
Dig into this at the beginning of the week; there’s too much here for a Friday.

Prior to classtime, invent a couple clefs. For example:

o The Contralto or A clef tells us where A is by both resting on the bottom line
(A3) and pointing to the uppermost space (A4).

o The Baritone or E clef (commonly known as the egg clef) tells us where E is by
resting on the second line (E3).
  Your students have been practicing “Jingle Bells”. Direct your students to raise their horns into
playing position, and see how well they play it as you conduct. Review or polish it a bit
(whichever is appropriate), but don’t dwell on this - it is time to move on to The Staff of (Musical)
Life. Horns in resting position.

The Staff of (Musical) Life

If your students have a solid background from previous music education, you may be tempted to skip
the exercise below. But chances are fairly good that if your students can read the treble clef, they were
taught the treble clef, period. The point of this section isn’t to be able to read the notes on a clef, but to
be able to read the notes on any clef. This exercise takes only a few minutes, and you may see shining
light bulbs popping above young heads as you go through it.

 Draw a horizontal line on the board, and draw a circle on

that line.

 Direct your students to raise their horns into playing position and play concert Bb as you point to
the circle. Horns down.

 Draw another circle, this one above

the line.

 Without saying anything much, direct your students to raise their horns into playing position.
Again direct your students to play concert Bb as you point at the circle on the line. Point at the
circle on the line, and then point at the circle above the line. Hopefully your students are now
playing concert C.

 Continue in this manner, adding lines and playing more of the scale as it appears. As you build
the staff and scale, help your students understand that the notes in any scale 4 are represented in
sequence using line, space, line, space, etc.

 On a fresh five-line staff, draw eight ascending circles, alternating between line & space, starting
on a random line or space. Employing a concert Bb scale, Point & Play. Repeat this at least three
times, drawing the scale starting on a different line or space each time.

For goodness’ sake don’t worry about half steps or accidentals right now! We don’t know about the
piano yet – remember? Just march them up the scale and back down; line, space, line, space.

This exercise reinforces the idea that notes in a sequence – either a

scale or the alphabet (which is the same thing with a different starting
point) - are notated sequentially using line/space/line/space/etc. It
reinforces the idea that any note can be on any line or space. It
demonstrates that the system is logical and flexible. And it leaves us
with a question: How do we know which note goes where?

Which brings us to clefs.

4 For practicality sake, this course assumes that all scales are octatonic.
A Quick History – very optional
If you want to give your students a quick history of our notation system, here are some key points:

• Pythagoras studied particular aspects of music theory, focusing on the mathematical nature
of harmony and musical scales. He knew that the pitch of a note from a vibrating string was
related to its length, and that simple ratios of length gave rise to harmonious notes.
• The early Babylonians and Egyptians used various forms of musical notation, such as
indications about using specific strings on a lyre and how the lyres were tuned.
• The earliest known example of a complete notated musical composition is called the Seikilos
Epitaph, which used a method of notation developed by the ancient Greeks. This piece of
music is carved on a tombstone in Turkey, and is almost two thousand years old.
• The system of horizontal lines we still use today evolved in the church in parts of Europe
including Italy and Spain. Guido of Arezzo, an Italian Benedictine Monk who lived around
the year 1000 A.D., is credited with devising the set of four horizontal lines.
• Originally the notes on the staff did not represent particular notes, but only how they
related to each other.
• The French composer Pérotin, who lived around 1200 A.D. may have been the first to use a
five-line staff. Staves of four, five and six lines were used variously for generations, finally
standardizing as the familiar five-line staff in or around the 1400’s.
• Clefs are used to indicate the range of pitches shown on a staff.

Clefs – not the least bit optional

Clefs are used to indicate the range of pitches shown on a staff. They also serve to identify a starting
note from which all the other notes can be determined.

 Erase the board and draw a staff. Draw eight

circles, sequentially from the bottom line to
the top space.
 Draw one of your invented clefs at the
beginning of the staff, tell your students how your clef works, and based on that information, ask
your students to direct you to write the names of the notes under each. Repeat this with your
other invented clefs. Feel free to use the invented clefs above. Student clef ideas are more than
welcome too!
 If classtime is nearing an end, this is an OK place to stop this activity and play your tunes to end
class. Your students are probably getting a little bored with their tunes. You can assure them
that there are plenty of new tunes coming soon.

Clefs - continued
 Introduce the C clef. This clef can be placed on any line, but is most commonly placed on the
middle line and called the alto clef. When placed on the fourth line, it is called the tenor clef. In
all cases, the line on the staff that splits the humps in the clef is middle C. The alto clef is most
common, so use that for the exercise.
 Go through the process of walking your students through naming all the notes on the staff
employing a C clef; “if this is ‘C’, then this must be what?”, etc.
 Either on a worksheet, or on the board, or both, lead your students through some ClefNotes.
Appendix S contains several examples and a list of words that are spelled using only the first
seven letters of the alphabet.
 Examples:

 Introduce the F clef in the same fashion. The line on the staff that is between the two dots is F.

 Go through the process of walking your students through naming all the notes on the staff
employing an F clef; “if this is ‘F’, then this must be what?”, etc.

 Either on a worksheet, or on the board, or both, lead your students through some ClefNotes.

Example:

 Introduce the G clef in the same fashion. The line on the staff that the tail of the clef circles is G.

 Go through the process of walking your students through naming all the notes on the staff
employing a G clef; “if this is ‘G’, then this must be what?”, etc.

 Either on a worksheet, or on the board, or both, lead your students through some ClefNotes.

Example:

 Hand out Appendix T, which details clefs.

You do not necessarily have to introduce the C, F and G clefs all in the same classtime, although it makes
things nice and tidy if you can. Remember that learning to play an instrument and learning to read
music are two very different things. Though we understand the value of learning these basics, and that
they are worth concentrating on for an entire classtime, your students will be bummed if they only get
to play their horns for warm-ups. At the very least, play through their two tunes and scales before
ending class.

Try to always call the clefs by their letter name instead of their descriptive name so your students are
repeatedly reminded of the starting note.
Those Poor Mice

 Erase the board and write the series of numbers

that represent the tune “Mice”. See Figure 3.

 Point & Play, then Conduct & Play “Mice”. (Key of

concert Bb, as before.)

Music Stands
Use music stands as little as possible, preferentially deferring to memorization. Of course music stands
will necessarily be employed most of the time, and when they are, have two students share a stand
whenever feasible, and keep all stands at a height at which your students need only to move their eyes
(and not their head or neck) to see you.

 Hand out Appendix U, which contains the parts for “Mice” and direct your students to compare
the numbers on the board to the notes on the page. Direct them to write the numbers under the
notes on the page. With one copy of the part on each stand, conduct “Mice”.

Look at Me Ma!
Next, is a very important lecture/discussion. Start with:
“How many of you looked at the music when you were playing? How many only looked at me? How
many didn’t know what to look at? What should you look at?”

There are two points to make and make big during this lecture. The first is to restate the priorities
outlined earlier in this course: playing is only the third most important thing to do when playing in a
group. Listening to your Bandmates is the second most important thing to do, because you are making
music as a group and no one should stick out unless it is on purpose. And the most important thing is to
watch the Conductor!

The other big deal, is that musicians need to be mentally agile; to focus in spurts. Watch the conductor,
watch the conductor, glance at the music for sec, back to the conductor, blend with the trumpets,
glance at the music, watch the conductor, watch the conductor.

This may sound like a lot to ask, but you can be assured that your students display much, much more
mental agility than described above every single time they play a video game. It isn’t about ability; it is
about forming habits.

So the answer to the question is: watch the conductor, glance at the music only when needed, listen to
the sound in the room and not just your horn, and watch the conductor.

 Erase the board, and conduct “Mice” with your students watching you, glancing at the music,
watching you.
 Hand out Appendix V, which contains the parts for “Paddling Part Two”. Challenge your students
to figure it out at home, and be able to play it without music during the next classtime.
Evaluation

By handing out semi-notated music you have reached a plateau – a good

time to take a look around and determine where you are and how it is
going.

Your students should be able to:

• read the notes on a staff using any clef,

• have a general understanding of an octave and that it is divided into intervals that can be
combined to create scales,

• be able to play a concert Bb and concert F scale,

• be able to play a couple simple tunes while staying together with the group by following the
conductor, and

• know how to care for their horn.

If any of these things need review, now is the time. Once a student is left confused or not
understanding, most subsequently presented information will sound like Charlie Brown’s teacher to
them until the confusion is cleared up.

If you determine that a bit of review is in order, make classtime interesting to everyone (including those
that don’t need the review) by reviewing during part of the classtime, and using the rest of the classtime
to start working through the Rhythm Activities.

Now, and throughout the rest of the year, direct your students to play “Mary Had a Little Lamb”, and
“Jingle Bells” in as many different styles as you can come up with, and increasingly expressively. Keep
working on these unison tunes, and by the Spring Concert the two little songs your students started with
will be so beautiful that you and your students will be proud to play them at the concert. It might make
a good time to listen to the recordings you made earlier in the course!
 Section Two

Continuing
 After warmups and listening, direct your students to raise their horns into playing position, and
as you conduct, play “Paddling Part Two” from memory as a result of their last practice
assignment. The first time through is your accurate indicator of how well they were able to
figure it out for themselves. Polish it up a bit, allowing one copy of the music on each music
stand to glance at, while watching the Conductor. If your students are capable of playing it more
expressively, give them a couple clues about how to do that, and encourage that expression to
emerge.
 When ready, direct your students to turn the music face down, and play the tune again,
expressively, as you conduct.
 Hand out Appendix W, that includes all the notes in a concert C scale, and make sure it is
included in the current practice assignment.

And the Beat Goes On

It is time to start teaching rhythmic notation. Starting with Gramma’s whole pumpkin pie and cutting it
into halves and then quarters and then eighths is an OK way to introduce rhythmic notation, and can be
effective. However, there are two pitfalls to this approach:
1. Some students may not be doing well with fractions in the classroom, and when we get to
the idea that an eighth [note] gets a half [beat], we might cause confusion in two subjects!
2. It can be tempting to present too much of the system – down to 64th notes, e.g. – all at
once. Music is very mathematical – yes, but right now we just need to feel a beat and
subsequently divide it in half.

Instead, start working through the Rhythm Activities, practicing

Tees and Tahs during as many classtimes as possible. Keep
challenging your students by writing increasingly complex
patterns (just a half notch more difficult than their current
ability), and conducting them at varying speeds. The next
several practice assignment songs will utilize only quarter and
half notes and rests. When the tunes begin to include eighth
notes as well, your students will see a Tee to the quarter note
Tah, and be able to take the eighth notes in stride.

There are no compelling reasons to teach your students

sixteenth or smaller notes right now. Once your students
really grok 5 the beat/pulse and understand about dividing it in
half, they will be able to deal with smaller divisions naturally.

5 verb (used with object)

1.
to understand thoroughly and intuitively.
verb (used without object)
2.
to communicate sympathetically.
Coined by Robert A. Heinlein in the science-fiction novel Stranger in a Strange Land (1961)
The more consistent you are with your terms, the easier it will be for your students to make sense of
things. Most American musicians call measure lines ‘bar lines’, and that is a hard habit to break. Using
‘measure’ and ‘measure line’ is better than using ‘bar’ and ‘bar line’ because ‘measure’ is a description
of what they do. It’s the same idea as calling the clefs by their letter names; it all matters.

On the other hand, the term ‘rest’ can be problematic. Although it too is descriptive, it provides a
poor and misleading description. In fact, the last thing we want our students to do when they see this:
is to rest. We want them to be silent – yes; but we also want them to feel the space as part of the
phrase and have it occupy as much time as a note would have.

When you get right down to it, the rests are just as important as the notes; the absence of sound as
important as the sounds. Encourage your students to tap a foot, move a shoulder, give a (quiet) grunt,
or make some other physical gesture to ‘play’ the rests – when feasible and appropriate. Offer to your
students that another way to think about a ‘rest’ is as ‘acknowledged silence’.

 Hand out Appendix X, which contains the parts for

“Paddling Part One” and make sure it is included
in the current practice assignment.

 Identify the quarter notes and half notes and

explain that two quarter notes occupy as much
time as one half note – remind your students of
“Mary Had a Little Lamb”, where the same
number was repeated and tied together.

 Lead a discussion about the measure lines, and

the function they perform. Draw some groups of quarter and half notes on the board in groups
of 3, 4, 5, or 11. Make the point that there can be any number of beats in a measure.

 Introduce your students to half and quarter rests.

 Write some simple patterns on the board that include quarter and half, notes and rests, and
Point & Clap. Do not worry about a time signature yet – just add measure lines to keep 2 or 3 or
4 (or 5) beats in a measure; ask your students to identify how many beats are in each before you
Point & Clap.

 Ask for student volunteers to write patterns on the board to be counted & clapped by the class.

 When the time is right, introduce whole notes and rests in the same fashion. Remember that ‘a
whole note takes up an entire measure’ isn’t always true, and speak about note durations
relative to each other.

 Continue to write increasingly complex patterns on the board that include quarter, half, and
whole notes and rests, and Point & Clap, during subsequent classtimes.

Continue focusing on your students playing beautifully while staying with the group by watching the
Conductor.
Day By Day
The tunes in the Appendix do not have tempo markings. Generally, take them as slowly as you need to
in order for your students can play them in time. Gradually take them more and more quickly, until they
feel right.

Each of the tunes in listed below introduces a basic concept, such as dynamics.

Appendix Y: “Hot Cross Buns” – fermata; cutoff together

Appendix Z: “Twinkle, Twinkle” – repeat sign
Appendix A2: “It’s Raining” – markings (dolce)
Appendix B2: “London Bridge” – legato, staccato
Appendix C2: “Afternoon” - dynamics
Appendix D2: “Paddling Away” – combination of above

These tunes are all very short, so you can follow the same procedure as you did for “Paddling Parts One
and Two”:

• One by one, assign each tune to take

home, practice and memorize.
• In the next classtime, conduct the tune
as your students play it from memory,
paying attention to the basic concept
that was introduced with that tune.
• Direct your students to place a copy of
the music on a stand, so you can polish
the tune a bit.
• Then direct your students to turn the
music face down, and play the tune from
memory while watching the Conductor.

Simultaneously with learning these tunes:

• Continue to practice Rhythmic Activities with Tee and Tah.

• Continue to work on the Bb, F and C major scales, and when your students are ready for number
four, hand out Appendix E2, that includes all the notes in a concert Eb scale, and make sure it is
included in the current practice assignment.
• Remember to work on “Mary Had a Little Lamb” and “Jingle Bells” once in a while.

When the scales start sounding like scales, and the tunes sound like tunes, and your students are
beginning to grok the beat and can read simple quarter & half note/rest rhythm patterns easily, move
on to Section Three.
 Section Three

For the duration of the course, you will need to continue to devise your lesson plans according to the
needs and progress of your students. Continue to work through these Classtime Activities, filling out
each classtime by polishing tunes or working on Rhythm Activities. Continue to include all the scales
your students know in every warm-up. Continue to make listening a part of every classtime.

It is time to start looking to buy, borrow or write some charts. By the time your students finish this last
section of this course, they will be able to work through beginning band charts with your guidance. If
buying band music is new to you, ask someone for whom it is not new to guide you through it.

 Hand out Appendix F2, that includes all the notes in a concert G scale, and make
sure it is included in the current practice assignment. This is a tough one for the
trumpets, so you may need put in some extra work on it during warmups.
 Hand out Appendix G2, which contains the score and parts for “Camptown Races
One”. Discuss the addition of the simplified time signature. The note under the
number tells us which kind of note gets one beat.
 Hand out Appendix H2, which contains the score and parts for “Aura Lee Part One”
and discuss the idea that any kind of note can get one beat, including the half note.
 Add these two tunes to the current practice assignment, to be memorized.
 For the sake of discussion, direct your students to come up with some other possible simplified
time signatures, e.g. 7 over a quarter note, 2 over a half note, or even 23 over a whole note.

These are the last two very short tunes, and with one upcoming exception, the last two that can
reasonably be expected to be 100% memorized. For the duration of Beginning Band, make working
through new music part of your students’ practice assignments, so that watching the Conductor is
actually feasible every time there is a Conductor to watch. In other words, reading through a new piece
during classtime assures that your students won’t be watching the Conductor, as they must necessarily
be looking at the music. This is the opposite of one of the goals for this course!

When new music contains difficult and/or new rhythmic ideas, patterns, styles or phrases, first, isolate
them and work on them during classtime either using the whiteboard, or in sectionals using worksheets.
Otherwise, direct your students to work through the fingerings and rhythms for new music at home. In
this way, you can realistically expect your students to watch the Conductor and glance at the music
during classtime.

Next Classtime
 Conduct “Camptown Races One” and “Aura Lee Part One” as
your students play each from memory.
 For each tune, direct your students to place a copy of the
music on a stand, so you can polish the tune a bit.
 Then direct your students to turn the music face down, and
again play the tune from memory while watching the
Conductor.
Have You Ever Known a Girl Named Matilda?
 Write some rhythmic patterns in 3 4, and then 2 4, on the board. Point &
Clap until your students can change from duple to triple easily.
 Hand out Appendix I2, which contains the score and parts for “The Juniper
Waltz” and add it to the current practice assignment.
 Hand out Appendix J2, which contains the score and parts for “Around the
Block” and add it to the current practice assignment.
 Review legato and staccato. With horns in playing position, conduct your
students as they play “Mary Had a Little Lamb” in various styles, tempos and volumes.
Unexpectedly stop and restart the Band in the middle of the tune; arbitrarily hold a note as if a
fermata was shown over it; suddenly ritard drastically; otherwise mess with your students so
they start to realize that there is more to watching the Conductor than seeing a 4 pattern to get
the tempo. This is good to do as part of any classtime, or as part of warming up.

Next Classtime
 Conduct “The Juniper Waltz” and “Around the Block” as your students play each, while watching
the Conductor and glancing at the music on the stand. See how well your students can play
these tunes with the music turned face down; are they still memorizing? If so, continue to
rehearse with the music face up and then face down until it is no longer constructive.
 If you have not yet done so, hand out Appendix E2, that includes all the notes in a concert Eb
scale, and make sure it is included in the current practice assignment.

Eighth Notes
 Review the 'pulse', and speak to your students about some of the ways it can be divided.
Compare the relationship between an eighth note and a quarter note to the relationship
between a Tee and a Tah.
 On the board, draw a series of eighth, quarter and half notes and quarter rests, with measure
lines separating every four beats. Direct your student to say Tee when you point to the eighth
notes and Tah when you point to the quarter notes, in the same fashion as they have been doing
with the Rhythm Activities.
 Then Point & Clap the pattern.
 Under each note, write the number of the beat it happens on, using a plus sign '+' to indicate the
back beat, spoken as 'and'. Direct the students to say those numbers along with 'and' out loud
as you Point & Clap.
 At some point, but probably not the first time you do this Activity, introduce the eighth rest in
your own way, and then repeat this exercise with both eighth and quarter rests in the measures.
 Change the number of beats between the measure lines to three, five, six, twenty-three ...
Continue to draw, and Point & Clap, including rests.
Make this exercise a part of as many classtimes as
possible.
 Hand out Appendix K2, which contains the score and
parts for “Polly Parrot” and add it to the current
practice assignment. Direct your students to place
one copy on a music stand. Stand within the Band
and direct your students to clap the rhythms while
you clap the beat and recite 1, 2, 3, 4.
Your students are expected to watch the Conductor whenever there is a Conductor to watch. When you
ask your students to do something that precludes them from watching the Conductor, presenting a
Conductor that will then necessarily be ignored only serves to send a mixed message and weaken the
precept that watching the Conductor (when there is a Conductor) is ‘job one’. So when necessity
demands that you work through things with your students that require them to stare at their music, do
something other than conduct and stand somewhere other than in the Conductor’s spot. You can clap
and count, sing, play a horn, tap a drum, or just count to get them going. Once they have it down well
enough to watch the Conductor and glance at the music, go back to conducting.

Next Classtime
 Conduct “Polly Parrot” as your students play each, while watching the Conductor and glancing at
the music on the stand. See how well your students can play these tunes with the music turned
face down; are they still memorizing?
 Hand out Appendix L2, which contains fingering charts.
 Hand out Appendix M2, which contains all major scales in standard notation.
 Assign the concert Ab scale as the sixth scale to learn, and make sure it is included in the current
practice assignment.

From Polly to Poly

 Hand out Appendix N2, which contains the score and parts for “Poly Funny” and add it to the
current practice assignment. Direct your students to place one copy on a music stand. Stand
within the Band and direct the Baritone and Tenor players to play their part while you clap the
beat and recite 1, 2, 3. Then direct the rest of the players to play their part while you clap the
beat and recite 1, 2, 3. When your students are ready, still with you clapping and counting from
within, give it a go with everyone.

Next Classtime
 Conduct “Polly Funny” as your students play while watching the Conductor and glancing at the
music on the stand. You can add a couple percussion instruments for fun; a drum on the
downbeat and tambourine on 2 & 3 would be an obvious but effective combination – be creative.
 Hand out Appendix O2, which contains the score and parts for “Jingle Bells” and add it to the
current practice assignment to be memorized. Explain to your students that this arrangement is
mostly not in unison, so what they will be practicing may not sound much like “Jingle Bells”, but
to work through the parts regardless.

Next Classtime
 Conduct “Jingle Bells” as your students play while watching the Conductor and glancing at the
music on the stand. Lead a discussion about the differences between playing a piece in unison
versus a piece in parts.
 At the end of classtime, hand out Appendix P2, which contains the score and
parts for “The Juniper Waltz 2” and make sure it gets added to the current
practice assignment. Your students already know this music – we’re just
going to put it together differently during the next classtime. If your flute
section is particularly weak but your trumpet section is not, hand out
Appendix Q2 instead. This contains the score and parts for “The Juniper
Waltz 2” with the melody in the trumpets. Make sure it gets added to the
current practice assignment.
Next Classtime
 Conduct “The Juniper Waltz 2” as your students play while watching the Conductor and glancing
at the music on the stand.
 Hand out Appendix R2, which contains the score and parts for “This Old Man” and make sure it
gets added to the current practice assignment.
 Hand out Appendix S2, which contains the score and parts for “Camptown Races Two” and make
sure it gets added to the current practice assignment.

The parts for “This Old Man” and “Camptown Races Two” contain a note that gently introduces the idea
of key signatures, without using the terms ‘key’ or ‘key signature’. Instead, it offers the idea that the
sharps and flats after the clef tell you which scale notes will be primarily used in the piece. Your
students have unwittingly learned more about keys and key signatures by learning their scales than they
would have by memorizing ‘next to the last flat’ and ‘half step above the last sharp’. Using the key
signature to indicate a scale, which is something your students already know well, simultaneously
identifies the key for future reference without asking your students to grasp the concept of keys now,
when they are learning and practicing so much new stuff already.

Your students also learned a little about tonality, as you can’t play all those major scales without
needing to hear DO after TI. And the brass players learned a bit about harmonics. If your students
haven’t yet heard the words ‘key’ or ‘tonality’ or ‘harmonics’, it doesn’t mean that the learning didn’t
take place.

Do your students watch you? Do they listen to/for each other? Can they play their scales? Those are
things that matter. You are doing a GREAT job!

Accidentals, meters in which the eighth note gets the beat, tempo markings, triplets, alternate
fingerings, and a million other issues and concepts have not been directly addressed in this course. But
you are no longer leading a Beginning Band – you are leading a group of students that can:

• Exhibit a sense of respect and etiquette for music, musicians, musical instruments, and musical
performances.
• Demonstrate and observe good habits for practicing, rehearsing, performing, and listening.
• Be a part of a group and follow a leader.
• Play appropriately difficult tunes with a level of musicality while following the Conductor and
staying together as a group.

You now lead a young Band, and you can take it from here using charts that you have purchased,
borrowed, or written, along with your choice of advanced practice exercises. If you need help with
these things, call on the secondary school music teachers for advice.

When your students are ready, assign them the concert Db and then the concert D major scales.

Continue to include scales in every warm-up, and continue to make listening a part of every classtime.
When new music contains difficult and/or new rhythmic ideas, patterns, styles or phrases, first, isolate
them and work on them during classtime either using the whiteboard, or in sectionals using worksheets.
Otherwise, direct your students to work through the fingerings and rhythms for new music at home. In
this way, you can realistically expect your students to watch the Conductor and glance at the music
during classtime. This will also obviously serve to greatly increase your students’ reading skills.

Include a variety of styles in the music you choose to include in your Band’s repertoire, even if a piece or
two takes you out of your comfort zone initially. We can all still learn and there’s no better way to get
comfortable with a style of music than to rehearse and conduct it.

Perform whenever you can, once your students are ready. Show them off and help your community see
what good things school music programs do and accomplish. Be proud.

Thank-you for using this course, and thank-you for teaching music. You are giving a great gift.

If you have any questions, please direct them to:

sales@kokopellipress.com
or call our office at 503.336.3713.

This course, in its entirety, including appendices and supplemental information

copyright 2016 White Coyote Technology, LLC and Kokopelli Press – Portland, OR.
All rights reserved.
Freely distributable for non-commercial, educational use.
 Rhythm Activities

Tee and Tah

Tee and Tah is a well-known and commonly-used method for helping students understand how to divide
a beat. There is a complete method, about which plenty of information is available. Our purpose here is
to develop in our students a proficiency in clapping and reciting simple rhythm patters that include
notes on the beat and the backbeat.

The Classroom Activities use only quarter and half notes for the first section of this course. With regular
application of these supplemental activities (at least once a week), the eighth notes that later begin to
appear in your students' tunes will simply be taken in stride by your students.

Activity 1 - Tah
 On the board in front of the class, draw several vertical lines, or stems. See Figure 3.
 Direct your students to say 'Tah' each time you point at one of the stems.
 Point to each stem in consecutive order, as your students say 'Tah' for each stem.
 Open a discussion about things that might make it easier for your students to keep track of
where they are as they read the series of stems; the answer you are going for being, to group
them into groups (of four). Once you get there, draw a larger vertical line separating every
fourth stem.
 Again direct your students to say 'Tah' for each stem as you point to it. This procedure is
hereinafter referred to as Point & Tee and Tah (even though there aren’t any Tees yet).
 In your own way, make a game out of this. Let your students draw the stems and put them in
groups. Point & Tee and Tah.

Activity 2 - accented Tah

Review and repeat Activity 1.

In your own way, lead your students to the idea that the first beat in each group (or measure) is
accented, or stronger, or gets a little more ooomph, than the other beats.

 Draw stems on the board and divide them into measures, then directing the students to say 'Tah'
as you point to each, while accenting the first in each measure.

Activity 3 - Tee
 On the board, again draw several vertical lines, or stems.
 Connect the 3rd & 4th, and 7th & 8th, and 9th & 10th vertical lines using horizontal lines. Identify
the connected stems as Tee, and explain that there are two Tees for every Tah.
 Point & Tee and Tah.
 Direct your students to draw the patterns, divide them into measures with some particular
number of beats in each, then Point & Tah and Tee. Make sure that you always vary the number
of beats in the measures to at least include 2, 3, 4, 5, and 6.
 Repeat this for several classtimes, with the patterns getting a bit longer and a bit more involved
each time.
 When you students are ready, divide the connected Tees into two Tees with separate flags, and
draw, Point & Tee and Tah several patterns.
Activity 4 - and uh one-uh and uh two-uh
When your students are proficient with reading, writing, measuring and reciting Tees and Tahs, in your
own way teach them to recite the number of the beat in the measure when the Tee or Tah falls on the
beat, OR to recite 'and' when the Tee or Tah falls on the back beat. See Figure 4.

 Draw patterns, divide them into measures with some particular number of beats in each, then
Point & Tah and Tee
 Repeat this for several classtimes, with the patterns getting a bit longer and a bit more involved
each time.

Activity 5 - fascinatin' rhythm

There are no syncopated rhythmic figures in the songs provided for this course. In preparation for
learning a chart with syncopated rhythms, start including syncopated figures as you practice, until they
are ready to tackle the new piece. See Figure 5.

 Draw patterns, divide them into measures with some particular number of beats in each, then
Point & Tah and Tee
 Repeat this for several classtimes, with the patterns getting a bit longer and a bit more involved
each time.

Activity 6 - class improv

This activity can be the coolest thing you do with your students all year. It can also be not much more
than loud, and which form it takes usually has more to do with the sun and the moon and the stars than
with anything a mere mortal teacher can control. But give it a try.

After an ongoing series of discussions and instruction over the course of several classtimes about the
proper care of and playing methods for percussion instruments, pass out the instruments so each
students has one, with all instruments being held in resting position.

In your own way, give your students some not-too-specific guidance toward what/how you'd like them
to play ... and direct them to play. Just play.

Let it happen and try to fade into the woodwork. At first your students may just be surprised that they
get to make so much noise. But after a while, on a good day, they may settle in to a groove. It is a
wonderful thing to witness when it happens. Don't try to force it, or recreate it once it happens. Every
time is new.

The point? Your students will be playing their instruments together all along, but it will be a while
before they are able to stop thinking about fingerings and notes and what their buddy is wearing and
what the cafeteria is serving for lunch, and actually make music together. But when a collection of
people can be present enough and focused enough to join together and settle in to a groove, music
happens. Being part of a group happens. And once your young musicians have experienced that, they'll
have something that's real to them to reflect on.
 Figures

Figure 1: “Mary Had a Little Lamb” using tied numbers

Figure 2: “Jingle Bells” using tied numbers

Figure 3

Figure 4
Figure 5
APPENDICES

Appendix A: Practice Sheets

Appendix B: Instrument Care & Cleaning
Brass Instrument Care
Clarinet Care
Flute Care
Sax Care
Appendix C: Embouchure
Appendix C1: Tonguing
Appendix D: The First Five Notes
Baritone
Clarinet
Flute
Saxophone
Trumpet
Appendix E: Posture and Breathing
Appendix F: Long Tone Exercises
Appendix G: Playing Position
Appendix H: “Mary Had a Little Lamb”
Appendix I: Conducting
Appendix J: Tips for Crossing the Clarinet Break
Appendix K: The Chromatic Scale
Appendix L: Chromatic Worksheet
Appendix M: Scales
Appendix N: Four Modal Scales
Appendix O: Complete the Major Scale Worksheet
Appendix P: Concert Bb Scale
Appendix R: Concert F Scale
Appendix S: ClefNotes
Appendix T: Clefs
Appendix U: “Mice”
Appendix V: “Paddling Part Two”
Score and parts
Appendix W: Concert C Scale
Appendix X: “Paddling Part One”
Score and parts
Appendix Y: “Hot Cross Buns”
Score and parts
Appendix Z: “Twinkle, Twinkle”
Score and parts
Appendix A2: “It’s Raining”
Score and parts
Appendix B2: “London Bridge”
Score and parts
Appendix C2: “Afternoon”
Score and parts
Appendix D2: “Paddling Away”
Score and parts
Appendix E2: Concert Eb Scale
Appendix F2: Concert G Scale
Appendix G2: “Camptown Races”
Score and parts
Appendix H2: “Aura Lee Part One”
Score and parts
Appendix I2: “The Juniper Waltz”
Score and parts
Appendix J2: “Around the Block”
Score and parts
Appendix K2: “Polly Parrot”
Score and Parts
Appendix L2: Fingering Charts
Appendix M2: Major Scales
Appendix N2: “Poly Funny”
Score and parts
Appendix O2: “Jingle Bells”
Score and parts
Appendix P2: “The Juniper Waltz 2” – flute melody
Score and parts
Appendix Q2: “The Juniper Waltz 2” – trumpet melody
Score and parts
Appendix R2: “This Old Man”
Score and parts
Appendix S2: “Camptown Races Two”
Score and parts
Appendix T2: “Aura Lee 2”
Score and parts
Appendix U2: Chapter Titles
Appendix V2: Terms & Phrases
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Cleaning a Trumpet or Baritone

When you are finished playing your horn, clear as much spit as possible and wipe your instrument with
your polishing cloth before carefully returning it to its case.

About once a month, give your instrument a thorough cleaning at home.

• Put your mouthpiece in very hot, soapy water and let it sit for five or ten minutes. Then scour it
inside and out with your mouthpiece brush before rinsing it and letting it dry.

• Fill your bathtub with warm water and soap.

• Lay out a towel on the bottom of the bathtub to avoid scratching.

• Remove all the slides from your horn, and put them in the bathtub.

• Put your horn in the tub and let it sit for 5- 10 minutes.

• Leaving the rest of the horn in the tub, remove the valves, being careful to arrange them so you
will remember which is 1, 2 and 3.

• Run the snake through all of the slides, and through the inside of your trumpet.

• Clean each valve without getting the felts wet. Run your mouthpiece brush through the holes,
making sure to get all buildup out.

• Using a washcloth and soap, wash the outside of the trumpet, and the inside of the bell.

• Drain the tub and thoroughly rinse all the pieces of your horn.

• Dry each piece. Grease all of the slides. Oil all the valves. Gently put your horn back together.
Polish your instrument, and return it and your mouthpiece to the case.

Notes:

• Lay your instrument down on its side; never set it down on end (bell on the bottom). Ask for an
instrument stand as a holiday gift!

• Carry an emergency kit in your case that contains a couple pieces of cork and a few strong
rubber bands in case a cork or spring fails.
Your Clarinet
• Mouthpiece Cover – This protects the mouthpiece when
in the case.
• Mouthpiece – The Mouthpiece includes both the plastic
mouthpiece housing and the ligature, which holds the
reed in place on the Mouthpiece.
• Barrel Joint– This is a short section that connects the
Upper Joint to the Mouthpiece.
• Upper joint – This section is slightly shorter than the
Lower Joint and has two corked connections. There is a
bridge key that hangs over the connection point.
• Lower joint - The biggest section of the clarinet. It has
metal keys, with a bridge key at the top. This section
has lower cork joint at the bottom joint, and a metal
ring around the top joint, which is at the center of the
instrument when fully assembled.
• Bell – The cone or bell-shaped part of the clarinet; the
end or bottom piece.

Assembly
Prepare your reed by submerging the thicker half of the reed (the stock), into about an inch of water.
Alternately, many reed players will moisten their reeds by sucking on them.
• Make sure that the corks are moist; apply cork grease if necessary.
• Attach the bell to the lower joint by holding the lower section while gently but firmly twisting
and moving the two sections together until snug.
• Hold the Upper Joint in one hand and the Lower
Joint in the other. Align the two pieces so that
the bridge keys face (but not touch) each other.
Hold down the three finger buttons in the Upper
Joint and notice that the bridge key on that
section raises up. Being careful to keep the
bridge key on the Upper Joint higher than (on top
of) the bridge key on the Lower Joint, gently but
firmly twist and move the two sections together
until snug and aligned.
• Next, carefully join the Barrel to the Upper Joint
by gently but firmly twisting and moving the two
sections together until snug and aligned.
• Put your moistened reed against the hole of the mouthpiece, line the tip of the reed vertically
with the tip of the mouthpiece, and secure it using the ligature. Carefully join the Mouthpiece
to the Barrel by gently but firmly twisting and moving the two sections together until snug and
aligned.
Cleaning

When you are finished playing your clarinet, it should be properly cleaned before carefully returning it
to its case.

• Remove the reed and store it in a reed holder to dry.

• Use your swab to clean and dry the inside of your instrument by dropping the weight into the
bell of your upside down clarinet so the weight comes out the mouthpiece, and gently pull the
attached cloth through. Repeat this several times.

• Occasionally, rub a thin coating of cork grease on the corks with your finger.

• Swab the end of each piece, then use your polishing cloth to wipe the ligature and keywork
clean before placing each piece in the case.

• Periodically, clean the inside and outside of the mouthpiece with a cotton swab, or - while being
careful to keep the cork dry - wash the mouthpiece with warm soapy water.

• Once clean and dry, place the mouthpiece cap over the mouthpiece and return it to the case.

Notes:
• Do not wash your clarinet in water.
• Lay your instrument down on its side; never set it down on end (bell on the bottom). Ask for an
instrument stand as a holiday gift!
• Cork grease is often sold in applicators similar to those for lip balm. Lip balm is not an
appropriate substitute for cork grease, and cork grease should not be ingested, so make sure
they don’t get confused.
• It is best to not use any kind of metal polish when cleaning or caring for your clarinet.
 Your Flute

Assembly
• Every time you remove your instrument from its case, quickly but thoroughly clean and dry the
areas of your flute where the sections join.
• Align the joints and gently twist and move them together until the sections are fully connected
and lined up.

Cleaning
When you are finished playing your flute, it should be properly cleaned before carefully returning it to
its case.

• Separate your flute into three sections.

• Use your swab to clean and dry the inside of your instrument by dropping the weight into each
section and gently pull the attached cloth straight through, without twisting it. Repeat this
several times.
Or
• Use your cleaning rod to clean and dry the inside of your instrument by threading a soft cloth
through the slot in the end of your tuning rod, and wrapping the cloth so it completely covers
the rod. Remove the moisture from each section by gently sliding the cleaning rod straight
through, without twisting it. Repeat this several times.
• Always handle the flute by the barrel when cleaning. Carefully polish the flute with your
polishing cloth cloth until it's free of fingerprints and other possible dirt. Occasionally use a
cotton swab dipped in rubbing alcohol to remove dust and buildup between the keys.
• If your pads are sticky and make a slight noise when they lift up, slide a piece of pad paper under
a key and close it firmly. Open the key and slide the paper out.

Notes:
• Do not wash your flute in water.
• It may be tempting to try to polish the mechanism tubing with silver polish. However, if the
polish gets into the mechanisms you will have to have your flute disassembled, cleaned, and
oiled. Instead, use a high quality silver and jewelry polish cloth for this, and to polish your
keycups.
• It is not a good idea to use lip-gloss or Vaseline to help the joints of your flute join together. It
can give you a quick fix today, but it will cause more trouble than it's worth tomorrow, as dust
and dirt will collect rapidly when there is something sticky to adhere to.
 Your Saxophone
A Brief History
The saxophone was invented by Adolphe Sax, who was born on November 6, 1814 in Belgium. His
father, Charles was an expert maker of musical instruments, and Adolphe learned to make instruments
in his father's shop. He produced excellent flutes and clarinets, and learned to play them so he could
test them. He then studied the clarinet and the flute at the Brussels Conservatory.

Sax noticed that the brasses overpowered the woodwinds, and wanted to come up with a new
instrument that would create balance between the brass, woodwinds and strings – something between
a clarinet’s woody tone and a trumpet’s brassy sound. In 1840 Sax combined the body of a brass
instrument and the mouthpiece of a woodwind instrument, and the saxophone was born.

Cleaning
When you are finished playing your sax, it should be properly cleaned before carefully returning it to its
case.
• Remove the reed and store it in a reed holder to dry.
• Use your swab to clean and dry the neck of your instrument by dropping the weight in the larger
opening, and gently pulling the attached cloth through. Repeat this several times.
• Use your swab to clean and dry the inside of your instrument by dropping the weight in the bell,
turning the horn upside down so the weight comes out of the opening where the neck goes, and
gently pulling the attached cloth through. Repeat this several times.
• You can also clean inside the bell with a soft cloth or chamois.
• Occasionally, rub a thin coating of cork grease on the corks with your finger.
• Check to see if any screws are loose (on the instrument). If any are, carefully and gently tighten
them (just snug – do not overdo it) using the tiny sax-sized screw drivers that you carry in your
case.
• Swab the end of each piece, then use your polishing cloth to wipe the ligature and keywork
clean before placing each piece in the case.
• Periodically, clean the inside and outside of the mouthpiece with a cotton swab, or - while being
careful to keep the cork dry - wash the mouthpiece with warm soapy water.
• Once clean and dry, place the mouthpiece cap over the mouthpiece and return it to the case.

Notes:
• Cork grease is often sold in applicators similar to those for lip balm. Lip balm is not an
appropriate substitute for cork grease, and cork grease should not be ingested, so make sure
they don’t get mixed up!
• Do not wash your sax in water.
embouchure:

noun em·bou·chure \ˈäm-bü-ˌshu̇r, ˌäm-bü-ˈ\

The position and use of the lips, tongue, and teeth when applied to the mouthpiece of a brass or wind
instrument.

Your embouchure controls the pitch and affects the quality of your sound.

Woodwind Instruments:
• The lips must be moist.
• The mouthpiece is positioned in the center of the mouth
• Place your upper teeth directly on the top of the mouthpiece but
they should not bite into the mouthpiece or push down on it.
• Your bottom lip should curve over the teeth to provide a cushion
for the embouchure.
• Use as little pressure as possible.
• Keep the skin under your lower lip taut, with no air pocket.
• The corners of the mouth are held firmly in place.

Brass Instruments:
• The lips must be moist.
• Use a puckered smile.
• Blow as though you are trying to cool soup.
• The lips must be (lightly) touching.
• Use as little pressure as possible.
• Keep the skin under your lower lip taut, with no air pocket.
• Your lips do not overlap, nor do they roll in or out.
• The corners of your mouth are held firmly in place, and your cheeks
are flat (un-puffed).

Flutes without the head joint

• Start with your lips in a natural closed position
• With your lips closed, draw the corners of your mouth into a gentle smile.
• Place your index finger horizontally on your lip as if it were a flute.
• Breathe deeply, and blow the air, repeatedly whispering ‘to’.

Flutes with the head joint

• Place the inner edge of the blow hole on the lower lip where the wet
and dry part of your lip meet.
• Your lower lip should remain soft and should cover approximately
1/3 of the blow hole.
• When expelling air, the opening in your lips (called the aperture) is
over the center of the blow hole.
• Roll the head joint in or out to create the best tone.
Tonguing - Brass

Tonguing is the use of the tongue in playing a wind instrument to interrupt the tone to provide
separation between notes.

Tonguing is very similar to pronouncing the syllable ‘tu’ or ‘tah’. Place the tip of your tongue against the
back of your lips/embouchure and release it backwards as if saying ‘tu’.

To play a note:
• Breathe in to provide a pressurized column of air.
• Place your tongue against the back of your lips/embouchure to block the airflow.
• With steady pressure, remove your tongue – only move your tongue!
• The note sounds.
• Place your tongue against your lips again to stop the sound and the airflow.

Note that it is the removal of the tongue which causes the air (already under pressure) to rush out and
into the mouthpiece.

The start of the note (often called the ‘attack’) contributes to the sound quality of both the instrument
and the player.
Tonguing - Flute

Tonguing is the use of the tongue in playing a wind instrument to interrupt the tone to provide
separation between notes.

Tonguing is very similar to pronouncing the syllable ‘tu’. Place the tip of your tongue against the back
your lips and release it backwards as if saying ‘tu’.

To play a note:
• Breathe in to provide a pressurized column of air.
• Place your tongue against the back of your lips/embouchure to block the airflow.
• With steady pressure, remove your tongue – only move your tongue!
• The note sounds.
• Place your tongue against the back your lips again to stop the sound and airflow.

Note that it is the removal of the tongue which causes the air (already under pressure) to rush out and
across the mouthpiece.

The start of the note (often called the ‘attack’) contributes to the sound quality of both the instrument
and the player.
Tonguing - Reeds

Tonguing is the use of the tongue in playing a wind instrument to interrupt the tone to provide
separation between notes.

Tonguing is very similar to pronouncing the syllable ‘tu’ or ‘du’. Just place the tip of your tongue against
the tip of the reed and release it backwards as if saying ‘tu’.

To play a note:
• Breathe in to provide a pressurized column of air.
• Place your tongue against the reed to block the airflow.
• With steady pressure, remove your tongue – only move your tongue!
• The note sounds.
• Place your tongue against the reed again to stop the sound and airflow.

Note that it is the removal of the tongue which causes the air (already under pressure) to rush out and
across the reed into the mouthpiece.

The start of the note (often called the ‘attack’) contributes to the sound quality of both the instrument
and the player.
 

b 

 b 


 




Playing Posture
Sit on the edge of your chair, with feet flat on the ground.
Keep your spine straight and tall, away from the back of the chair.
Keep your shoulders back and relaxed.

Breathing
Watch a baby breathe. Notice how their little tummies go up and down with every breath. This is how
are bodies are designed to breathe, and this is how we need to breathe when playing an instrument.

When you inhale, your lungs expand down, and when you exhale, your lungs contract up. Your tummy
may pooch out a nit when you breathe in, and that is OK.
 Long Tone Exercises

Long-tones help improve almost every aspect of playing a wind instrument. They are simple and are
made up of two basic components:
• Slow, sustained notes held for an extended period.
• Slow and gradual variation in volume; for example, from soft to loud and then soft again.

The main goals in practicing long-tones are:

• The most beautiful sound possible.
• Smooth transitions and even pitch throughout all volume
levels.

Step One:
• Using good posture and breathing techniques, softly play a note that is easy to play – probably C
or G.
• Gradually get louder until you have used about half of the air in your lungs, and then get softer
again.
• Make a definite end to the note instead of letting it fade away.
• Repeat several times. When your embouchure gets tired, rest it. You will be able to do more
and more repetitions as your embouchure gets stronger. You will know when it is time to move
on to Step Two.

Step Two:
Repeat Step One playing each of The First Five Notes in sequence instead of a single note. Start with the
lowest note, go up the scale and back down - nine long tones exercises in total
(for example, C D E F G F E D C).

Step Three:
• Using good posture and breathing techniques, play G.
• While continuing to keep the air moving, change your fingering to G#.
Work to keep the tone consistent even as the note changes.
• Make a definite end to the note instead of letting it fade away.
• Repeat several times.

Step Four:
• Using good posture and breathing techniques, play G.
• Gradually get louder until you have used about a third of the air in your lungs, and while
continuing to keep the air moving, change your fingering to G#.
• Begin to gradually get softer again, and while continuing to keep the air moving, change your
fingering back to G.
• Make a definite end to the note instead of letting it fade away.
• Repeat, starting on each of The First Five Notes and going up a half step and back down.


The conductor's responsibilities include setting and maintaining the tempo, executing clear
preparations and beats (meter), and listening critically and shaping the sound of the ensemble.
However, the conductor's primary responsibility (especially in a beginning class) is to unify
performers.

Almost any movement you make that helps keep your students together might be classified as
conducting. Clapping, or tapping a stick, or holding up your hand and repeatedly displaying
one, two, three, four fingers will help keep your students together more or less. So why do all
the arm wagging?

The thing conducting patterns have that tapping does not, is a bounce. Conducting patterns are
easy to follow because the bounces happen at a visually perceptible specific spot in time, which
is much clearer than trying to decipher exactly when the second, third, or fourth finger
'appeared'. Even more importantly, the bounces give the overall motion a flowing quality that
allows the performers to sense when the next bounce (beat) will happen; that's what keeps the
performers together.

Begin practicing by making a downbeat. In order to have a downbeat, there must be an upbeat,
or preparatory beat. The upbeat happens at the same speed as the downbeat – this is how the
players or singers know when the downbeat will happen. Just dropping your hand from a
stationary position does not give the group members enough information for them to come in
together.

For a right-handed conductor:

• Hold you open hand in front of your shoulder.
• Move your hand to the left a bit, and bounce it off the make-believe tiny trampoline,
causing your hand to ascend straight up.
• Drop your hand at the same speed with which you raised it, and bounce.
• Open your hands palms up & open, signifying that you want the playing to continue.
• When you are ready for the playing to stop, make a sweeping motion with your hands
that results with your palms open but facing away from your body; what you can see is
just the back of your hands.

Do it in front of the mirror. Practice until the bounce happens without you having to think about
it. Then conduct a two pattern. When the upbeat and downbeat are equally long, and both are
bouncing happily, learn the three and four patterns. Remember that a downbeat isn’t a
downbeat without an upbeat.

One way to practice is by air-conducting your favorite recorded music.

Conduct with your hand or a baton. Avoid using a finger, as it isn’t as easy to see and
sometimes people don’t like being pointed at.
Two pattern

• Conduct the down beat, veering to the (right) side

after the bounce.
• Return your hand to the focal point for beat two, and
then bring it straight up again.

Three pattern

• Conduct the down beat, bringing your hand straight

up after the bounce.
• Return your hand to the focal point for beat two,
veering to the (right) side after the bounce.
• Return your hand to the focal point for beat three,
and then bring it straight up again.

Four pattern

• Conduct the down beat, bringing your hand straight

up after the bounce.
• Return your hand to the focal point for beat two,
veering to the (left) side after the bounce.
• Return your hand to the focal point for beat three,
veering to the (right) side after the bounce.
• Return your hand to the focal point for beat four,
and then bring it straight up again.
 Tips for Crossing the Clarinet Break

Make sure you're blowing enough fast air to make the B4 sound. B4 requires more fast air than A4 to
sound, so try starting on B4 so you know what it feels like, and then play back and forth between A4 to
B4, keeping the tone consistent.

Keep your embouchure still when you are crossing the break.

It can be a challenge going from covering one or two holes, to essentially covering all of them. If all your
fingers do not fully cover the holes when playing B4 and C5, this will cause some squawks & squeaks.
You can overcome this by going back and forth between the fingerings for A4 and B4 without putting air
into the horn. You can do this while watching TV.

Check your hand position on the A key. If you don’t smoothly move your index finger from the key to the
hole, you may hear a blip between the A and the B. To prevent this, rock your finger between the A key
and the hole. It’s a really subtle move, and your finger doesn’t move much. Make sure your index finger
is curved.

When you’re playing A4, you leave the hole and register key open. Keep your thumb hovering above the
thumb hole, instead of resting it on the wood of the clarinet. It is best to not rest your thumb on the
wood of the clarinet below the thumb hole, so you don’t add unnecessary movement to get your thumb
back to the hole. Instead, keep your left thumb over the hole, pointing diagonally at this post. When
you move position to play B4, simply place it over the hole and register key.
b
  b 

b  

b 

   b
b
b
 b





 

   

  

b 

  F


 





 
Musical spelling, or ClefNotes

You can do these on the board, or as worksheets, or as homework.

Example 1: Using only the first seven letters of the alphabet

Other words that use only the first seven letters of the alphabet:

Ace, babe, bad, bade, badge, bag, baggage, bagged, bead, beaded, bed, bedded, beef, beefed, beg,
begged, cab, cabbage, cad, café, cage, caged, dab, dabbed, dead, deaf, decade, deface, defaced, edge,
efface, effaced, egg, fab, façade, face, faced, fad, fade, faded, fed, feed, feedbag, gab, gabbed, gad,
gage, gagged
Example 2: Using all the letters of the alphabet
 Mice

b œ œ œ œ
Flute & b 44 œ œ œ œ œ œ œ œ œ œ œ œ

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Clarinet in B b &
# 4 œ œ œ œ
Alto Sax & 4 œ œ œ œ œ œ œ œ œ œ œ œ

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Tenor Sax &

& 44 œ œ œ œ
Trumpet in B b
œ œ œ œ œ œ œ œ œ œ œ œ
? bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Baritone (B.C.) 4
1 2 3 4

©
 Paddling Part Two
Score

b 4 œ œ œ œ œ œ œ œ œ œ œ
Flute &b 4 œ œ œ œ œ

& 44 œ œ œ
Clarinet in B b
œ œ œ œ œ œ œ œ œ œ œ œ œ
# 4 œ œ œ œ œ œ œ œ
Alto Sax & 4 œ œ œ œ œ œ œ œ

4 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
Tenor Sax & 4

& 44 œ œ œ
Trumpet in B b
œ œ œ œ œ œ œ œ œ œ œ œ œ

? bb 4 œ œ œ œ œ œ œ œ œ œ œ
Baritone (B.C.) 4 œ œ œ œ œ

©

   

  

 

  


 





 
 Paddling Part One
Score

b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Flute &b 4 œ

& 44 œ œ œ œ œ
Clarinet in B b
œ œ œ œ œ œ œ œ œ œ œ

# 4 œ œ œ œ œ œ œ œ œ œ œ
Alto Sax & 4 œ œ œ œ œ

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Tenor Sax & 4

& 44 œ œ œ œ œ
Trumpet in B b
œ œ œ œ œ œ œ œ œ œ œ

? bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Baritone (B.C.) 4 œ

©
 Hot Cross Buns
Score

b 4 ˙ ˙ ˙ ˙
Flute &b 4 ˙  ˙ 

& 44  
Clarinet in B b
˙ ˙ ˙ ˙ ˙ ˙
# 4 ˙  ˙ 
Alto Sax & 4 ˙ ˙ ˙ ˙

4 ˙ ˙ ˙  ˙ ˙ ˙ 
Tenor Sax & 4

& 44  
Trumpet in B b
˙ ˙ ˙ ˙ ˙ ˙

? bb 4 ˙ ˙  ˙ ˙ 
Baritone (B.C.) 4 ˙ ˙

b ˙ U̇
&b œ œ œ œ œ œ œ œ ˙ 
5

Fl.

U
& ˙ 
B b Cl.
œ œ œ œ œ œ œ œ ˙ ˙
# U
A. Sx. & œ œ œ œ œ œ œ œ ˙ ˙ ˙ 

œ œ œ œ ˙ ˙ U̇
T. Sx. & œ œ œ œ 

U

5

B b Tpt. & œ œ œ œ œ œ œ œ ˙ ˙ ˙
U
? b œ œ œ œ ˙ ˙ 
Bar. b œ œ œ œ ˙
©
 Twinkle, Twinkle
Score

œ œ œ œ œ
Flute
b 4
&b 4 œ œ Œ œ œ œ œ œ œ œ Œ .. œ œ œ œ

& 44 œ œ œ Œ Œ .. œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
Clarinet in B b

# 4 œ œ œ œ œ Œ œ œ œ œ .. œ œ œ œ
Alto Sax & 4 œ œ œ œ œ Œ

œ œ œ
4 œ œ œ œ Œ œ œ œ œ œ œ œ Œ ..
œ œ œ œ
Tenor Sax & 4

& 44 œ œ œ Œ Œ .. œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
Trumpet in B b

? bb 4 œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ .. œ œ œ œ
Baritone (B.C.) 4

b œ œ œ Œ . œ œ œ œ œ œ œ œ œ œ œ U̇
b Œ œ œ
6

Fl. & .

U
& Œ .. œ œ œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
B b Cl.

# œ œ œ œ œ Œ U̇
A. Sx. & œ Œ .. œ œ œ œ œ œ œ œ œ œ

œ œ œ U̇
œ œ œ Œ . œ œ œ œ Œ œ œ œ œ œ œ
T. Sx. & .

U
.
œ œ œ Œ . œ œ œ œ œ œ œ Œ
6

B b Tpt. & œ œ œ œ œ œ ˙
U
? b œ œ œ Œ .. œ œ œ œ œ Œ œ œ œ œ œ œ ˙
Bar. b œ œ
©
 It's Raining
Score

4  Œ
œ ˙ œ œ ˙ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ
Flute & 4
dolce marcato

## 4  Œ œ ˙
Clarinet in B b & 4 œ œ ˙ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ
dolce marcato

### 4  Œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ
Alto Sax & 4
dolce marcato

# 4
Tenor Sax & # 4  Œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ
dolce marcato

## 4  Œ œ ˙
Trumpet in B b & 4 œ œ ˙ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ
dolce marcato

Baritone (B.C.)
? 44  Œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ
dolce marcato

œ œ œ œ U̇
Fine

œ œ œ œ ˙
7

Fl. &
U
#
Fine

B b Cl. & # œ œ œ œ œ œ œ œ ˙ ˙

## œ U̇
Fine

œ œ œ
A. Sx. & # œ œ œ œ ˙

## U
Fine

T. Sx. & œ œ œ œ œ œ œ œ ˙ ˙
# U
Fine

& # œ
7

B b Tpt. œ œ œ œ œ œ œ ˙ ˙
U Fine

? œ œ œ œ œ œ œ œ ˙ ˙
Bar.

©
 London Bridge
Score

b 4 œ œ œ œ œ. œ. œ. œ œ œ œ. œ. œ.
Flute &b 4 Œ Œ Œ

œ œ. œ. œ. œ.
legato staccato legato staccato

44 œ œ œ œ. Œ œ œ œ Œ œ. Œ
Clarinet in B b &
legato staccato legato staccato

# œ œ. œ. œ. œ. œ. œ.
& 44
Alto Sax
œ œ œ Œ œ œ œ Œ Œ
legato staccato legato staccato

4 œ Œ Œ Œ
Tenor Sax & 4 œ œ œ œ. œ. œ. œ œ œ œ. œ. œ.
legato staccato legato staccato

& 44 œ œ œ œ. Œ Œ œ. Œ
Trumpet in B b œ œ. œ. œ œ œ œ. œ.
legato staccato legato staccato

? bb 4 œ œ œ œ œ. œ. œ. Œ œ œ œ Œ œ. œ. œ. Œ
Baritone (B.C.) 4
legato staccato legato staccato

œ œ œ œ. œ. œ. ˙ œ.
bb œ Œ ˙ œ. 
5

Fl. &

œ œ. œ.
legato staccato legato staccato

œ œ œ œ. Œ ˙ ˙ œ. œ. 
B b Cl. &
legato staccato legato staccato

# œ œ œ œ œ. œ. œ. Œ ˙ 
A. Sx. & ˙ œ. œ.
legato staccato legato staccato

& œ œ œ œ œ. œ. Œ ˙ œ. œ. 
T. Sx.
œ. ˙
legato staccato legato staccato

Œ 
5

B b Tpt. & œ œ œ œ œ. œ. œ. ˙ ˙ œ. œ.
legato staccato legato staccato

? b œ œ œ œ œ. œ. œ. Œ ˙ ˙ œ. 
Bar. b œ.
legato staccato legato staccato
©
 Afternoon
Score

b 4 ˙ œ ˙
Flute &b 4 ˙ œ œ ˙  œ 
F p
Clarinet in B b & 44 ˙ œ ˙

˙ œ œ ˙ 
œ
F p
#
Alto Sax & 44 ˙ œ œ ˙  ˙ œ œ ˙ 
F p
4 ˙ œ œ ˙  ˙ œ œ ˙ 
Tenor Sax & 4
F p
Trumpet in B b & 44 ˙ œ ˙

˙ œ œ ˙ 
œ
F p
? bb 4 ˙  ˙ œ ˙ 
Baritone (B.C.) 4 œ œ ˙ œ
F p
b ˙ œ ˙ ˙ U̇
b Œ œ Œ ˙ 
5

Fl. &
f p F
U
& ˙ Œ ˙ Œ ˙ 
B b Cl.
œ œ ˙ ˙
f p F
# ˙ U
œ Œ ˙ œ Œ ˙ 
A. Sx. & ˙ ˙
f p F
˙ œ ˙ œ ˙ ˙ U̇
T. Sx. & Œ Œ 
f p F
U
Œ Œ 
5

B b Tpt. & ˙ œ ˙ œ ˙ ˙ ˙
f p F
U
? b ˙ œ Œ ˙ œ Œ ˙ 
Bar. b ˙ ˙
f p F
© 2015 Kokopelli Press / White Coyote Technoogy, LLC
 Paddling Away
Score

b 4 œ œ ˙ œ œ ˙ , œ œ œ œ œ. œ. œ. Œ œ œ ˙ œ œ ˙ ,
Flute &b 4
F p
, ,
Clarinet in B b & 44 œ œ ˙ œ œ ˙ œ œ œ œ œ. œ. œ.
Œ
œ œ ˙ œ œ ˙
F , p ,
# . œ. œ.
& 44 œ
Alto Sax
œ ˙ œ œ ˙ œ œ œ œ œ Œ œ œ ˙ œ œ ˙
F p
4 , ,
& 4 œ œ œ œ œ œ œ œ Œ œ œ œ ˙
Tenor Sax
˙ ˙ œ œ œ . . . œ ˙
F p
, ,
Trumpet in B b & 44 œ œ ˙ œ œ ˙ œ œ œ œ œ. œ. œ.
Œ œ œ ˙ œ œ ˙
F , p ,
? bb 4 œ œ œ. œ. œ.
Baritone (B.C.) 4 ˙ œ œ ˙ œ œ œ œ Œ œ œ ˙ œ œ ˙
F p
bb œ œ œ. œ. ˙ œ Œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ
7 legato

Fl. &
p flegato
Œ Œ
B b Cl. & œ œ œ. œ. ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
p flegato
# œ. œ. œ œ œ Œ œ œ œ Œ
A. Sx. & œ œ ˙ œ Œ œ œ œ œ œ œ œ œ
p f
Œ Œ
œ œ œ Œ
legato

T. Sx. & œ œ œ. œ. ˙ œ œ œ œ œ œ œ œ œ œ œ œ
p flegato
Œ Œ œ œ œ Œ
7

B b Tpt. & œ œ œ. œ. ˙ œ œ œ œ œ œ œ œ œ œ œ œ
p flegato
? b œ œ. œ. œ œ œ Œ œ œ œ Œ
Bar. b œ ˙ œ Œ œ œ œ œ œ œ œ œ
p f ©
 Paddling Away
, œ.
2
b œ œ ˙ œ œ œ U
&b œ ˙ œ w
13

Fl.
p F f
, U
B b Cl. & œ œ ˙ œ œ ˙ œ œ œ œ. w
p F , f
# œ œ ˙ œ œ ˙ œ œ œ. U
A. Sx. & œ w
p F f
, U
T. Sx. & œ œ ˙ œ œ ˙ œ œ œ œ. w
p F f
13
, U
B b Tpt. & œ œ ˙ œ œ ˙ œ œ œ œ.
w
p F , f
Bar.
? bb œ œ ˙ œ œ ˙ œ œ œ œ. U
w
p F f
b
  b 

b  

b  b

   b
b
b
 b



b

 

   

  

 

  


 





 
 Camptown Races 1
Score

b 4 œ œ œ œ œ œ œ œ œ
Flute &b 4 Œ œ  œ 
F
Clarinet in B b & 44 œ œ œ œ œ œ œ Œ œ œ

œ œ

F
# œ
& 44
Alto Sax
œ œ œ œ œ œ Œ  œ œ  œ œ
F
4 œ Œ  
Tenor Sax & 4 œ œ œ œ œ œ œ œ œ œ
F
Trumpet in B b & 44 œ œ œ œ œ œ œ Œ œ œ

œ œ

F
? bb 4 œ œ œ œ œ œ œ Œ œ œ  œ œ 
Baritone (B.C.) 4
F
U̇
b œ œ œ œ œ œ œ œ œ œ
b Œ œ 
5

Fl. &
f
U
& œ œ œ œ œ Œ œ œ œ œ ˙ 
B b Cl.
œ œ
f
# œ œ œ œ œ œ U̇
A. Sx. & œ œ Œ œ œ œ 
f
U̇
œ Œ œ œ œ 
T. Sx. & œ œ œ œ œ œ œ
f
œ U̇
Œ œ 
5

B b Tpt. & œ œ œ œ œ œ œ œ œ
f
U
? b œ œ œ œ œ œ œ Œ œ œ œ œ 
Bar. b ˙
f
©
 Aura Lee
Score

4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
legato

Flute &b 2 ˙  ∑
P
# 4 legato  ∑
Clarinet in B b & 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
P
# # 4 legato˙ ˙ ˙ ˙ ˙ ˙  ˙ ˙ ˙ ˙ w ∑
Alto Sax & 2 ˙
P
# 4 ˙ ˙
legato
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
Tenor Sax & 2  ∑
P
# 4 legato  ∑
Trumpet in B b & 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
P legato
? 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙  ˙ ˙ ˙ ˙ w ∑
Baritone (B.C.) b 2
P
˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w Fine

&b  ∑
5

Fl.
P
#
Fine

& ˙ ˙ ˙ ˙ ˙  ˙ ˙ ˙ w ∑
B b Cl.
˙ ˙ ˙
P
## ˙ ˙ ˙ ˙ ˙ w
Fine

A. Sx. & ˙ ˙ ˙  ˙ ˙ ˙ ∑
P
˙ ˙ ˙ ˙ ˙ w
Fine

# ˙ ˙ ˙ 
˙ ˙ ˙ ∑
T. Sx. &
P
#
Fine

 ∑
5

B b Tpt. & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
P
? ˙ ˙ ˙ ˙ ˙ ˙  ˙ ˙ ˙ ˙ w ∑
Bar. b ˙
P
©
 The Juniper Waltz
Score

b 3 œ œ œ ˙ ˙ œ ˙
Flute &b 4 œ Œ
P F
Clarinet in B b & 43 œ œ œ ˙ œ ˙ œ ˙ Œ

# 3 œ œ ˙ œ ˙ Œ
Alto Sax & 4 œ œ ˙

3 œ œ œ ˙ ˙ œ ˙
Tenor Sax & 4 œ Œ

Trumpet in B b & 43 œ œ œ ˙ œ ˙ œ ˙ Œ

? bb 3 œ œ œ ˙ ˙ œ ˙ Œ
Baritone (B.C.) 4 œ

b œ œ œ ˙ œ œ œ
&b œ ˙. ..
5

Fl.

& œ œ ..
B b Cl.
œ œ ˙ œ œ œ ˙.
# œ œ ˙ œ ..
A. Sx. & œ œ œ œ ˙.

œ œ œ ˙ œ œ œ œ ˙.
T. Sx. & ..

..
5

B b Tpt. & œ œ œ ˙ œ œ œ œ ˙.

? b œ œ œ ˙ œ œ œ ..
Bar. b œ ˙.
©
 2A The Juniper Waltz
b ˙ œ œ œ œ œ ,
Fl. &b ˙ œ œ œ
F
,
legato

B b Cl. & ˙ œ ˙ œ œ œ œ œ œ œ
,
# ˙ œ œ œ œ œ
A. Sx. & ˙ œ œ œ

˙ œ ˙ œ œ œ œ œ œ ,
T. Sx. & œ

9
,
B b Tpt. & ˙ œ ˙ œ œ œ œ œ œ œ
,
Bar.
? bb ˙ œ ˙ œ œ œ œ œ œ œ

b œ ˙ œ œ U̇
&b ˙ œ .
13

Fl. œ
f
œ U
B b Cl. & ˙ ˙ œ œ œ œ ˙.
f
# œ ˙ œ œ œ U̇.
A. Sx. & ˙ œ
f
U
T. Sx. & ˙ œ ˙ œ œ œ œ ˙.
f
œ œ U̇
œ œ .
13

B b Tpt. & ˙ œ ˙
f
U
? b ˙ œ ˙ œ œ œ œ
Bar. b ˙.
f
 Score
Around the Block

. œ œ œ
2 œ œ œ œ œ œ Œ œ œ. œ. œ. œ œ œ Œ œ œ œ
4 œ
legato

Flute &
F p f
##
42 œ œ œ œ œ
œ œ œ
œ œ Œ œ. œ œ. œ œ œ œ Œ œ œ œ
legato

Clarinet in B b &
F p . . f
### . œ œ œ
42 œ œ œ œ
œ œ œ Œ œ œ œ. œ œ œ œ Œ œ œ œ
legato

Alto Sax & . .

F p f
# 2 œ œ œ œ œ
& # œ œ Œ œ. œ œ. œ œ œ œ Œ œ œ œ
œ œ
legato

4 œ
p . .
Tenor Sax

F f
##
42 œ œ œ œ œ
œ œ œ
œ œ Œ œ. œ œ. œ œ œ œ Œ œ œ œ
legato

Trumpet in B b &
F p . . f
œ œ œ
?
42 œ œ œ œ
œ œ œ Œ œ. œ œ. œ œ œ œ Œ œ œ œ
legato

Baritone (B.C.) . .
F p f
œ œ. œ. œ U̇
Œ œ. œ. œ
12

Fl. &
F
## U
& œ Œ œ. œ. œ œ ˙
B b Cl.
œ. œ.
F
### œ œ. U̇
Œ œ. œ. œ. œ œ
A. Sx. &
F
U
## Œ œ
T. Sx. & œ œ. œ. œ. œ. œ ˙
F
## U̇
Œ œ œ
12

B b Tpt. & œ œ. œ. œ. œ.
F
U
? œ Œ œ. œ. œ. œ. œ ˙
Bar.
œ
F
©
 Score
Polly

Slowly

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ œ
Flute & 4
F
## 44 Œ
Clarinet in B b & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
F
### 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙
Alto Sax & œ œ œ œ Œ œ
F
# 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Tenor Sax & # 4 Œ œ
F
## 44 Œ
Trumpet in B b & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
F
Baritone (B.C.)
? 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ œ
F
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ w
5

Fl. &

#
B b Cl. & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w
## œ œ œ œ œ œ œ œ
A. Sx. & # œ œ œ œ œ œ œ œ w

## œ œ œ œ œ œ œ œ œ œ œ œ œ
T. Sx. & œ œ œ w

#
& # œ
5

œ œ œ œ œ œ œ œ œ œ œ œ
B b Tpt.
œ œ œ w

? œ œ œ œ œ œ œ œ œ œ œ œ œ
Bar. œ œ œ w
©
 Score
Poly Funny

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b 3
Flute &b 4 Œ Œ Œ Œ Œ Œ Œ
P
Clarinet in B b & 43 Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ
P
# 3 Œ œ œ Œ
œ œ
Œ
œ œ
Œ
œ œ
Œ
œ œ
Œ
œ œ
Œ
œ œ
Alto Sax & 4
P
3
Tenor Sax & 4 ˙. ˙. ˙. ˙. ˙. ˙. ˙.
F
Trumpet in B b & 43 Œ œ œ Œ œ œ Œ
œ œ
Œ œ œ Œ œ œ Œ œ œ Œ
œ œ
P
? bb 3 ˙ . ˙. ˙. ˙. ˙. ˙. ˙.
Baritone (B.C.) 4
F
œ œ U̇.
œ œ œ
A
b œ œ œ œ œ œ œ œ œ œ œ
&b Œ Œ Œ Œ Œ Œ Œ Œ
8

Fl.

U
B b Cl. & Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ ˙.

U̇
# Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ .
A. Sx. &

U
T. Sx. & ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙.
U
Œ œ œ Œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ ˙.
8

B b Tpt. & œ œ
U
? b . ˙. Œ
Bar. b ˙ ˙. ˙. ˙. ˙. ˙. ˙ ˙.
© 2016 Kokopelli Press
 Jingle Bells
Score

4 œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Flute &b 4 œ œ œ œ œ œ

# 4
Clarinet in B b & 4 œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

#
Alto Sax & # 44 œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

# 4
Tenor Sax & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

# 4 œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Trumpet in B b & 4

?
b 44
Baritone (B.C.)
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

©
 Score
The Juniper Waltz 2

b 3
Flute & b 4 .. ∑ ∑ ∑ ∑ ..

Clarinet in B b & 43 .. Œ œ œ Œ œ œ Œ œ œ Œ œ œ ..
F
# œ œ œ œ œ œ œ œ
Alto Sax & 43 .. ΠΠΠΠ..
F
3
Tenor Sax & 4 .. ˙ . ˙. ˙. ˙.
..
F
Trumpet in B b & 43 .. Œ œ œ Œ œ œ Œ
œ œ
Œ œ œ
..
F
? b b 3 .. ˙ . ˙. ˙. ˙. ..
Baritone (B.C.) 4
A F
b œ œ œ ˙ ˙ œ ˙
Fl. & b .. œ Œ
F
B b Cl. & .. Œ œ œ Œ œ œ Œ œ œ Œ œ œ
P
# .Œ œ œ œ œ œ œ œ œ
A. Sx. & . Œ Œ Œ
P
& .. ˙ . ˙.
˙. ˙.
T. Sx.
F
.. Œ Œ Œ Œ
5

B b Tpt. & œ œ œ œ œ œ œ œ
P
? b .. ˙ . ˙.
Bar. b ˙. ˙.
F © 2016 Kokopelli Press
 2 The Juniper Waltz 2
b œ œ œ ˙ œ œ œ
&b œ ˙. ..
9

Fl.

& Œ œ œ Œ œ œ Œ œ œ Œ œ ..
B b Cl.
œ

# Œ œ œ œ œ œ œ œ œ
A. Sx. & ΠΠΠ..

& ˙. ˙. ..
˙. ˙.
T. Sx.

ΠΠΠΠ..
9

B b Tpt. & œ œ œ œ œ œ œ œ

Bar.
? bb ˙ . ˙. ˙. ˙. ..

,
B
b ˙ œ œ œ œ œ
Fl. &b ˙ œ œ œ
legato

B b Cl. & Œ œ œ Œ œ œ Œ œ œ Œ
œ œ

# œ œ œ œ œ œ œ œ
A. Sx. & Œ Œ Œ Œ

T. Sx. & ˙. ˙. ˙. ˙.

Œ Œ Œ Œ
13

B b Tpt. & œ œ œ œ œ œ œ œ

? b
Bar. b ˙. ˙. ˙. ˙.
 The Juniper Waltz 2 3
b œ ˙ œ œ U̇
&b ˙ œ .
17

Fl. œ
f f
U
B b Cl. & Œ œ œ Œ œ œ Œ œ œ ˙.
F f
œ œ œ œ œ U̇.
# Œ Œ Œ
œ
A. Sx. &
F f
U
T. Sx. & ˙. ˙. ˙. ˙.
f f
U
Œ Œ Œ
17

B b Tpt. & œ œ œ œ œ œ ˙.
F f
? bb ˙ . ˙. Œ ˙.
Bar.
˙
f f
 Score
The Juniper Waltz 2 A

b 3 œ œ œ œ œ œ œ œ
Flute & b 4 .. ΠΠΠΠ..
F
Clarinet in B b & 43 .. Œ œ œ Œ œ œ Œ œ œ Œ œ œ ..
F
# œ œ œ œ œ œ œ œ
Alto Sax & 43 .. ΠΠΠΠ..
F
3
Tenor Sax & 4 .. ˙ . ˙. ˙. ˙.
..
F
Trumpet in B b & 43 .. ∑ ∑ ∑ ∑ ..

? b b 3 .. ˙ . ˙. ˙. ˙. ..
Baritone (B.C.) 4
A F
b œ œ œ œ œ œ œ œ
Fl. & b .. Œ Œ Œ Œ
P
B b Cl. & .. Œ œ œ Œ œ œ Œ œ œ Œ œ œ
P
# .Œ œ œ œ œ œ œ œ œ
A. Sx. & . Œ Œ Œ
P
& .. ˙ . ˙.
˙. ˙.
T. Sx.
F
.. œ Œ
5

B b Tpt. & œ œ ˙ œ ˙ œ ˙
F
? b .. ˙ . ˙.
Bar. b ˙. ˙.
F © 2016 Kokopelli Press
 2 The Juniper Waltz 2 A
b œ œ œ œ œ œ œ œ ..
&b Œ Œ Œ Œ
9

Fl.

& Œ œ œ Œ œ œ Œ œ œ Œ œ ..
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# Œ œ œ œ œ œ œ œ œ
A. Sx. & ΠΠΠ..

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9

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B
b œ œ œ œ œ œ œ œ
Fl. &b Œ Œ Œ Œ

B b Cl. & Œ œ œ Œ œ œ Œ œ œ Œ œ œ

# œ œ œ œ œ œ œ œ
A. Sx. & Œ Œ Œ Œ

T. Sx. & ˙. ˙. ˙. ˙.
13
,
B b Tpt. & ˙ œ ˙ œ œ œ œ œ œ œ
legato

? b
Bar. b ˙. ˙. ˙. ˙.
 The Juniper Waltz 2 A 3
b œ œ œ œ œ U.
U̇
&b Œ Œ Œ œ
17

Fl.
F f
U
B b Cl. & Œ œ œ Œ œ œ Œ œ œ ˙.
F f
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F f
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T. Sx. & ˙. ˙. ˙. ˙.
f f
17
U
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B b Tpt.
œ
f f
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Bar.
˙
f f
 Score
This Ol' Man

b 4 œ œ œ œ œ œ œ œ œ œ , ,
Flute &b 4 Œ Œ œ œ œ œœ œ œ œœœ
F
, ,
Clarinet in B b & 44 œ œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œœ œ œ œœœ
F ,
# œ œ œ œ , œ
& 44
Alto Sax
œ œ œ Œ œ œ œ Œ œ œ œ œœ œ œ œœ
F
œ œ œ œ ,
4 œ œ œ
Œ
œ œ œ
Œ œ œ œ œ œ œ œ œ œ œ,
Tenor Sax & 4
F
, ,
Trumpet in B b & 44 œ œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œœ œ œ œœœ
F
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Baritone (B.C.) 4
F
b œœœœœ Œ œ œ œ œ œ œ ˙ œ. œ.
b ∑ œ œœœ œ Œ Œ
6

Fl. &

œ Œ œ œ œ œ œ œ ˙ ∑ œ œœœ œ Œ œ œ Œ
B b Cl. & œœœœ . .
# œœœœœ Œ œ
œ œ œ œ œ ˙ ∑
œ œœœ œ .
Œ œ. œ Œ
A. Sx. &

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T. Sx. & œ Œ œ œ œ œ œ œ ˙ ∑ œ œœœ œ Œ œ œ Œ

Œ œ œ ˙ ∑ œ œœœ œ Œ œ. œ. Œ
6

B b Tpt. & œœœœœ œ œ œ œ

? b œ œœ Œ œ œ œ œ ∑ Œ Œ
Bar. b œ œ œ œ ˙ œ œœœ œ œ. œ.
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 Score
Camptown Races

b 2 œ œ œ
Flute &bb 4 œ œ œ œ œ œ Œ œ Œ œ
F
Clarinet in B b & b 42 œ œ œ œ œ œ œ Œ œ œ
Œ œ œ
F
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& 4 2 œ œ. œ œ.
Alto Sax
J J
F
2 œ j j
Tenor Sax &b 4 œ œ œ œ œ œ œ œ. œ œ.
F
j j
& b 42 œ
Trumpet in B b
œ œ œ œ œ œ œ œ. œ œ.
F
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j
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Baritone (B.C.) bb 4
F
b œ œ œ œ œ ˙
&bb œ œ œ œ
5

Fl. œ

&b œ œ œ œ œ œ œ œ œ ˙
B b Cl. œ

œ œ œ œ œ œ œ œ ˙
A. Sx. & œ œ

œ œ œ
T. Sx. &b œ œ œ œ œ œ œ ˙

œ
&b œ œ œ œ
5

B b Tpt. œ œ œ œ œ ˙
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Bar. bb œ
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 2A Camptown Races
b œ œ œ œ
Fl. &bb œ œ œ Œ œ Œ

œ œ œ œ œ œ
B b Cl. &b œ œ Œ Œ

œ œ œ œ œ œ
œ œ Œ Œ
A. Sx. &

œ œ œ œ œ œ
T. Sx. &b œ œ Œ Œ

œ œ œ œ œ œ
&b Œ Œ
9

B b Tpt. œ œ

œ œ œ œ œ œ
? b œ œ Œ Œ
Bar. bb
,
œ œ œ œ œ U̇
Fine
b œ
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13

Fl. œ
, U̇
&b œ œ œ œ œ œ œ œ œ
B b Cl. œ
œ , U̇
œ œ œ œ œ œ œ
A. Sx. & œ œ
,
œ œ œ U̇
T. Sx. &b œ œ œ œ œ œ œ
, U
œ
&b œ œ œ œ
13

B b Tpt. œ œ œ œ œ ˙
œ ,
? b œ œ œ œ œ œ œ U̇
Bar. bb œ
 Score
Aura Lee 2

œ œ œ œ œ ˙ œ œ œ œ ˙. Œ œ œ œ œ
œ œ ˙
Flute & b 44 œ
# 4P Œ
Clar & 4 œ œ œ œ œ œ ˙ œ œ œ œ ˙. œ œ œ œ œ œ ˙
P
## 4 œ œ œ œ œ ˙ œ œ œ œ ˙. Œ œ œ œ œ œ œ ˙
Alto & 4 œ
P
# 4 Œ
Tenor & 4 œ œ œ œ œ œ ˙ œ œ œ œ ˙. œ œ œ œ œ œ ˙
P
# 4 Œ
Trump & 4 œ œ œ œ œ œ ˙ œ œ œ œ ˙. œ œ œ œ œ œ ˙
P
Bari
? b 44 œ œ œ œ œ œ ˙ œ œ œ œ ˙. Œ œ œ œ œ œ œ ˙
P
2 Aura Lee 2

˙. ˙.
A
œ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ
&b Œ Œ
7

F
# Œ œ œ œ œ Œ
& œ œ œ œ ˙. œ œ ˙ œ œ ˙ ˙.
F
## œ œ œ œ ˙. Œ œ œ n˙
& œ œ b˙ œ œ œ œ ˙. Œ
F
7
# Œ Œ
& œ œ œ œ ˙. œ œ ˙ œ œ ˙ œ œ œ œ ˙.
F
# Œ œ œ ˙ œ œ ˙ œ œ œ œ ˙. Œ
& œ œ œ œ ˙.
F
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7

w
F
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œ ‰ Jœ œ œ J w
Fine

&b œ œ œ œ œ
13

# ‰ œj j
& œ œ œ œ œ œ œ œ œ œ. œ w
## œ œ œ ‰ œj œ œ. j
& œ œ œ #œ œ œ w
13
# ‰ j j
& œ œ œ œ œ. œ w
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# œ œ œ œ ‰ œj œ œ. j
& œ œ œ œ œ w

?b œ œ ‰ œj œ œ œ. œ w
13

œ œ œ œ œ J
 Chapter One Headings

Simple Gifts – a Shaker Song

Anyone At All written Carole King and Carole Bayer Sager; recorded by Carole King

Shoot for the Moon written by Hartford and Robinson; recorded by Linda Davis

Take It Easy written by Jackson Browne and Glenn Frey; recorded by the Eagles

Money, Money, Money written by Andersson and Bjoern; recorded by ABBA

One Man Band written by David Courtney and Leo Sayer; recorded by Leo Sayer

The Right Thing To Do written and recorded by Carly Simon

Practice Makes Perfect written by Cohen and Gold; recorded by Billie Holiday

Listen to the Music recorded by the Doobie Brothers

The Fundamental Things written by Batteau and Klein and Cody; recorded by Bonnie Raitt

Paperback Writer written by Lennon/McCartney; recorded by the Beatles

Look At Me recorded by Carrie Underwood

Up, Down, Left, Right written and recorded by Ataris

Do Re Mi written by Rodgers & Hammerstein

Giant Steps by John Coltrane

First Things First written and recorded by Stephen Stills

Use Me written and recorded by Bill Withers

The Gift of Song written and recorded by Neil Diamond

Scales and Arpeggios from the Aristocats written by Sherman & Sherman

One step at a Time written & recorded by Jordan Sparks

Consistency written and recorded by Ari Hest

 Terms and Phrases

• Axe: any musical instrument

• Bilateral coordination: the ability to use both sides of the body at the same time in a controlled
and organized manner.
• Chart: a musical arrangement.
• Chops: 1) embouchure, embouchure strength. 2) skill, ability, dexterity, musicianship, creativity.
• Chromatic Scale: a progression of half steps that end on the note an octave higher than the first
note.
• Clef: Any of several symbols placed at the beginning of a staff, designating a pitch of one of the
notes written on it, from which the pitch of all other notes can be determined.
• Dolce: sweetly, with feeling.
• Downbeat: the first beat in a measure.
• Enharmonic: the multiple names for any note, for example F# and Gb, are said to be enharmonic.
• Fine: (pronounced fee - nay) – the end.
• Forte: loud, loudly; strong.
• Four pattern: The conducting pattern used when there are four beats in a measure.
• (to be a) Good audience: Members of a good audience do not talk or fidget when music (or a
play) is being performed. They are attentive to the activity on stage, and respectful of the
performers and their fellow good audience members.
• Half Step: the interval from one note on the chromatic scale, to the next.
• Horn: a musical instrument, usually a wind instrument.
• Interval: the distance between two notes.
• Job number one: More important even than playing, is to watch the conductor.
• Legato: smooth and connected.
• Marcato: strongly accented; with each note emphasized.
• Muscle memory: not a memory stored in your muscles, but a form of memory in your brain that
combines the repetition of a specific motor-skills task, such as playing an instrument or
practicing karate.
• On direction: Group members play only as the conductor cues each note; separately and
distinctly.
• Overblow: To force so much air through an instrument that it makes an unpleasing and/or
unduly loud sound. Sometimes called 'blatting', usually in reference to brass instruments.
• Pattern: repeated hand and arm movements made by the Conductor in an effort to help the
band or choir to perform each tune beautifully.
• Piano: soft, softly; not loud; quiet, quietly.
• Playing position: Instruments are raised to the mouth, with hands in proper position to play the
instrument with eyes on the conductor.
• Polish: to work on a piece so that it can be played or sung more beautifully.
• Pulse: The rhythmic recurrence of throbs, beats, strokes, vibrations, or undulations.
• Resting position: Instruments are held in the lap.
• Scale: a progression of half and whole steps that end on the note an octave higher than the first
note.
• Staccato: with each note detached or separated from the others.
• Three pattern: The conducting pattern used when there are three beats in a measure.
• Time Signature: a combination of digits placed after the clef and the key signature on a staff,
that indicates how many beats each measure contains, and which type of note will receive one
beat.
• Whole Step: two joined half steps.
 The Snake Song
www.kokopellipress.com Steve Kloser

# 4 j
G C7 D7 G

∑ ∑ ∑ Ó Œ .. œ
& 4 œ œ œ œ œ œ œ. Œ œ
1. My snake is ve - ry fri - end -ly. He
2. chick - en is so hap - py. She
3. ea - gle is so hand - some. Yes,
4. mouse is so ex - ci - ted. As

# j
G

œ Œ œ œ œ j j
œ œ œ œ ˙ œ œ œ œ œ œ œ œ.
wears pink ten - nis shoes. My snake is ve - ry fri - end - ly and he
7
loves to whis - tle so. My chick - en is so hap - py she can
some might call him vain. He's look - ing in the mir - ror now ad -
you can plain - ly see. He found a tun - nel un - der - neath the

# j
G C7 G

œ œ œ œ œ ˙ œ œ bœ w œ œ œ œ œ
11
J w
ne - ver gets the blues. He can snooze right through the blues!
whis - tle high or low. She can blow now don't you know?
just - ing his tou - pee. Hey, hey, hey, what can I say?
cheese fac - to - ry! Hear him squeak, "man, life is sweet!"

# j j j j
D7 G

Ó Œ ‰ j œj œ j j j j
œ œ œ œ œ œ œj œj œ œj œ œ œ œ œ œ
16
œ
When I get feel - in' sad and lone - ly, I think a - bout my one
When I get feel - in' sad and lone - ly, I think a - bout my one
When I get feel - in sad and lone - ly, I think a - bout my one
When I get feel - in' sad and lone - ly, I think a - bout my one

# j j j j
D7 C7 G

œ œ œ œ œ. œ œ œj œj bœ œ œ œ œ w Ó Œ ..
20
œ. œ
and on - ly sleep - in' snake in his pink ten - nis shoes. My
and on - ly whis - tlin' chick - en then I'm good to go. My
and on - ly G. Q. ea - gle check - in' out his wave. My
and on - ly gour - met mouse just chomp - in' on some cheese. If
2 The Snake Song

# j j j j j j
D7 G

& œ œ œj œj œ œj œj œ œj œj œ œj œ œ œ œ œ œ œ œ œj œj œ .
25
I get feel - in' sad and lone - ly, I think a - bout my cra - zy cro - nies,

# j
D7 C7 G

œ œ j j bœ œ ∑
œ œ œ. œ œ œ w
29
clap my hands and sing this mel - o - dy!
 When Is It Gonna Be Christmas?
Steve Kloser

q = 140

& b 44 ∑ ∑ ∑ ∑

j j
& b 44 œœœ œ œ œœœ œœ œœ œœœ œœ œ . œœ œœ j j
œ œœ .. œœœ œ œ œ
œœ œœ
œ œ n b œœœ œœœ ... œ
b œœ ˙˙˙
œ
œœ .. b b œœ œœ .. œœ œœ
Piano
? b 44 ˙ ˙˙ ˙ ˙ œ œ
˙ ˙ ˙ œ œ J J œ
A
j œ œ œj
& b .. œ œ œ œ œ œ œ œ
œ
‰ œ œ œ œ J ˙. Œ
When is it gon - na be Christ - mas? It must be get - ting near.
When is it gon - na be Christ - mas? We've been wait - ing since last year.
When is it gon - na be Christ - mas? I keep see - ing all the signs.

& b .. œœœ œœ œ œ œ œ œœ œœ Œ Œ Œ Œ ˙.
5

œ œœ œ œ œœ œœœ œœ œœœ ˙˙˙ ..

œ œ œ .
? b .. ˙ ˙ ˙ ˙ ˙ œ œ
5

˙ ˙ ˙ ˙ ˙
˙

j j
&b œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œj Œ œ
9

œ. ˙
When is it gon - na be Christ - mas? Please say it's al - most here. The
When is it gon - na be Christ - mas? Please say it's al - most here. The
Just look at all of those pre - sents! I know that some are mine. There's

&b Œ Œ Œ œ ˙ Œ j j
9

œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ ˙˙ œœ
œ œ œ œœ œœ œ œ ˙ œ
?b œœ ˙ œ œ
9

˙ ˙ ˙ ˙ ˙
œ
2015 kokopellipress.com
2 When Is It Gonna Be Christmas?
B
j
&b œ œ œ œ œ œ œ ‰œ œ œ œ œ œ ˙ Œ œ œ œ œ œ
trees are grow - ing can - dy canes; they ma - gi - c'ly ap - pear. See elves on e - v'ry
Christ - mas tree is beau - ti - ful; the lights are all a - glow. The neigh - bor - hood is

œ
hoof - prints on the roof - top. I feel the win - ter chill. The coo - kies left for

&b Œ Œ œœ Œ ˙˙˙ b œœœ n œœœ œœ œœ œœ œœ œ œ œœ œ ˙˙

13

˙˙ œœ ˙˙ œ œ nœ bb˙
˙ œ ˙ œ ˙
?b ˙ ˙ ˙ ˙ ˙ ˙ ˙
13

˙ ˙ ˙ ˙ ˙

j ˙. Œ .. œj œ . Œ œ œ œ œ œ n œ
& b œ œ. Ó œ œ œ nœ
18 1. 2.

cor - ner show - ing off their ears. twink - ling like a big Las Ve - gas

& b Œ œœ ˙˙ ˙˙˙ œœ œœ œœ œœ œœ .. Œ ˙˙˙ ˙˙˙

18

˙ œ œœœ ˙
œœ ˙˙ n ˙˙ ˙ œ œ ˙ n ˙˙ ˙
?b œ
œ ˙˙ œ œ w .. œ œ ˙˙ œ œ
18

˙ w ˙
C

œ œ œ œ œ œ œ œ j
&b ˙ Œ œ œ œ œ œ œ œ. Œ œ
23

show. First, Hal - lo - ween, then Thanks - gi - ving, then on - ward to De - cem - ber. Mom's

& b www œœ œ Œ œœ Œ ˙˙ œœ Œ ˙ Œ ˙˙ œœ
23

w œ œœ œ ˙ œ ˙˙ œ
œœ ˙ b œ
?b œ œ œ œ œ œ j
œ œœ ˙ œ œ œ œ . œj œ œ œ œ
23

œ .
œ
 When Is It Gonna Be Christmas? 3

&b œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ ..
28

œ
spe - cial gift will make the day a Christ - mas to re - mem - ber.

œœ œœ œœ œœ œ
& b ˙˙˙ ˙˙ ˙˙ ˙˙˙ œœ œœ œœœ œ œœ œœ ..
28

˙ œœ œ œ
˙ ˙ œ
?b œ œ œ œœ œ ..
œ œ œ œ œ ˙.
28

œ œ œ œ
œ

j ˙.
& b œ œ. Œ nœ Œ
3.

œ
32

œ œ œ
San - ta are gone and so's the milk.

œœ œœ œœ œ
&b Œ ˙˙˙ œœ
32

œœœ ˙˙˙ ˙˙ œ œ œ
œ ˙ n˙ ˙
?b œ ˙ œ œ w
32

œ ˙ ˙ w
D
j j
&b œ œ œ œ œ œ œ œ
œ. œ œ œ œ œ
J œ œ ˙. Œ
Hoo - ray it's fi - nal - ly Chrst - mas! with our loved ones ga - thered near.

& b œœ œœ œ œ œ œ œœ œœ œ Œ œœ Œ Œ Œ ˙.
35

œ œ œ œ œœ œœ œœ ˙˙ ..
œ œ œ ˙.
?b ˙ ˙ ˙ ˙ ˙ œ œ
35

˙ ˙ ˙ ˙ ˙
˙
4 When Is It Gonna Be Christmas?

j
&b œ œ œ œ œ œ œ œ ˙. œ
39

œ ˙ ˙
œ. œ w
Gee, what a won - der - ful Christ - mas! I can't wait un - til next year!

&b Œ Œ Œ œœ ˙ Œ ˙˙ œœœ Œ ˙˙ œœ œœœ œ œ œœ œœ œ œœ

39

œœ œœœ œ ˙˙ ˙˙ œ ˙˙ œœ œ œœ
œ
?b œœ ˙ ˙˙
39

˙ ˙ ˙ ˙ ˙ ˙
œ ˙ ˙

&b ∑ ∑ ∑
44

b j j ˙˙˙˙
œ œœ œœ
44

& œœ œœ .. œœ œ œ œ œœ œœ .. ˙˙
œ. œœ œ œ.
?b ˙ œ œ œœ ww
˙ œ.
44

˙ ˙ œ œ J œ. w