UAT eae cD and mixed instrument teaching SS aa ee A & = ~TEAN RASS Trombene/Euphenium bass clef RICHARD DUCKETT Edited by William Rumford, Philip Evry and Geoffry Russell-Smith Fist published in 1968 by international Music Publications Lt This tion © 2007 by Faber Musi tnd edison fst published in 2007 by Faber Masi td Bloomsbury House 74-77 Great Russel Sect London WC1B 3DA ‘Cover photography by Keven tricson Cover dsign by Susan Clarke Instruments photogeephed by hind permision of Yamaha. Kemble Muse (UK) Ld Typeset by Cromwell Typeseting& Design Lid, London Printed in England by Caigraving Lid Allright reserved IseNi0-0.571 28198 FANIB:978.0571.52819.6 “o.buy Faber Music publications orto find oat abou he fl range of es ‘vallable please contac your lea! muse retailer or Faber Musicsolesenquinies Faber Muss tid, Burat Ml, Elizabeth Way, Harlow CMz0 21 Tel 44 (0) 12798289 82 Fox: +440) 1279 8289 83 alesofabermusiccom fobermusicom ‘The authors donating @ percentage of his royalties rom Team Brass (0. children’s charity FABER ff MusicFor Mary Introduction ‘The Team Brass series has been designed to meet the needs of young brass musicians everywhere, whether lessons are given individual, in groups or in the classroom. Musical variety ach book contains a wide range of musical styles, from the Baroque and Classical eres to fim, fo, jazz and Latin American. In addltion there are original pieces and studies, technical exercises and scales, progressing from the beginner stage to approximately Grade 4 standard, Furthermore Tear Brass offers material suitable for mixed brass, ‘ensemble a well as soles with piano accompaniment (see following page for further deta) cD ‘The accompanying free CD contains over 70 digital backing tracks for individual and {roup use. See page iv fora complete tack listing Progression “Toe Team Brass series isnot a‘method rather a collection of musi from which the teacher can select a suitably graded course for each pupil. Tis allows for variation in starting-point, concentration threshold and pace of progression, There isa choice ot starting nates and several choices of progressive path the pupil can follow. Study options appear atthe fot of most pages. General musicianship skills In addition to fostering musical iteracy, Rhythm Grids, Letter-name Grids and Play by Far ines provide eatly opportunities for composition and improvisation. Comprehensive notes on the use ofthis series, scores of ensemble pieces, piano accompaniments and approaches to creative music-making are given inthe Team Brass Piano ‘Accompaniments book (9-571-52821-%). Acknowledgements ‘Sincere thanks are extended to the following people whose criticism, advice and help in various ways has been invaluable: Keith Allen, Colin Moore, Brian Wicks, Keith Watts, Peter Smalley, Molly Wicks and Philip Leah, whose enthusiasm and support have bean (great encouragement Copyright acknowledgements Lite Donkey © 1958 Chappell use i ‘Warner Bros Music Lis. London WIP 300 Biowia’ ate wind © 1962 (unpud.) © 1963 M Witmark & Sons, USA ‘Star Wars © 1977 Fox Fanfare Music Ine. USA ‘Wiliamson Music Ltd. London WTY 3% [Uy Favorite Things and Edelweiss © 1959 Richard Rodgers & Oscar Hammerstein I Williamson Music Inc. USATeam Brass ensemble The ensemble material in Team Brass has been speciaiy written so that by almost any combination of brass instruments: there are a wide range of ensemble ‘options to experiment with which are explain beloe. Team Brass can also be integrated with Team Woodwind and Team Strings, which wil enable you to cater for almost any Combination of instruments up to ull orchestra o Yo use the pieces in classroom ‘ting. All Team ensemble pats are carefully graded to correspond to the introduction of Solo tuition material throughout each tutor, Much ofthe Team ensemble material now lays a prominent part inthe Music Medals sylabus of the ABRSM can be played Creating brass trios and quartets ‘As well as trombone duets there are 17 ensemble parts marked with the ($3 ogo German tune ‘page 14 Brass group warm-up 2 age 38 Lullaby page 14 Tiwana brass page 39 CCanzonetta page 15 sau three ships page 39 Brass group warm-up 1 page 19 ‘Michael row te boat page 48 Regal fanfare page 20 Canzona page 48 Whom frst came to this and page 20 OLitle tem of Bethlenem page 49 Blowin’ inthe wind page 21 St Anthony chorale page 49 ‘Ay clair de a lune page 37 March rom Judas Maccabaeus. age 55 Lite donkey page 37 €B ote pes mate wis ag can be expan in trash or urs ‘by adding parts tor other instruments, as indicated throughout the book. For example: «as prs appear noua wih canbe combed wih he rrp us crests 5 * Tonto tas can ao bret by combing thereon us wih ese ass ‘parts (which appear on the same page). ‘+ Third and fourth parts appear in the French Horn book (0-571-52818-X) to accompany the its, Thid and out asf tebe cel as band instruments poe a5 supreme valle ola om aes com. +The GB sap on he same numbered page neh Dok |e Caco on ee 15 inal nls, Integrating with Team Woodwind The nse pee in ea Bass can ao ener tn hose pices on he ‘same pages) in Team Woodwind. By combining all the ensemble parts in Team Brass and ‘Team Woodwind you can form a full-sized wind band, with either the brass or woodwind taking tee Integrating with Team Strings ‘Additionally, eam Strings canbe integrated with Team Woodwind and Team Bras by sng the supplementary ats to the enembie pieces that canbe downloaded fom faermusic.com. This allows for almost ny combination f instruments upto full ‘orchestra, or ina classroom seting. Piano accompaniments [HIHITIY This ogo incicatas which pieces have a piano accompaniment, Scores forall ensemble material and more extensive nots are aso included inthe Team Brass Piano Accompaniments book (0-571-52821-). [NB Because the ensemble pleces produce @ starting point for payers at various stages of evelopment, these may include technical elements (now notes, ythms et.) tat are not introduced until some pages later.CD track Some tracks work with wo diferent tunes. listing Each rack nudes two bars of cick to bring you in track _page track page “Tuning noe Bb orF 1 =~ Patten 017 Avi 6, Cand D 71 Pave v3 ‘Acapulco Bay: 2. oF ‘Quadratone pattern 136 All mixed up! 3 6 ‘Quaver study em Achar do falar 437 Quickmarch a 2 Aura Lee S33 ‘Regal fanfare “20 ‘Austrian Holiday 6 25 Rickstiaws 5 43 rs ands 2 § Say ‘gone 46 ot 8, Cand Dtopeher G07 Seotsh bald 78 Bouin nthe wind Oa) 8 ot Simply ue 845 Caribbean dence #4 Snghosanna 96 Celtic lulaby 4 Slavic slurs. 5025 Coventry cara 43 —_Seigh ide 18 ‘Don’t be late! 15 ‘Slow waltz $243 Eos and Fs 9 3 Sort ‘em out! 53 9 Ecelveiss (Rodgers & Hammerstein) 1635S. Anthony chorale oe) Elegy 7 5 “Star Wars’ Main Title (Williams) 5560 fend Dogar 106 —_Sepping out 318 Fewing 189 Studyin 72 Germaniune 2014 ‘The cenipede’smastrioe 857 Ging 28 ~—‘Theuchoo 24 Hare we pl m2 —_‘Thelrstnoe oo 88 i pave my ove a cenry 7360 —_Theostnote a7 i saw tee ships 2454 Theme from New World Symphony wa intervals 2511 —Tedonthe sige 1 LA, Ntespot~ repeated times 26 48—_“Theky tunel 67 ies talons 2313 Vitoria bald 26 Lite donkey (Boswel 2037 Wating 627 twisty 04 Waking 9 aching S28 Watchyour stp! 88 iment row te bot 3348 We wish you a Mery Christmas 70 My favourte things (Rodgers & Hammerstein) 3431. Welsh tune Ti _ © Lite Town of Bethienem 3549. West nian carnival nm & ‘Ode to joy’ 3642 ‘When I first came to this land 73 20 (i Liza Jane S712 _Whanthe saints go marching in 418 ts Liza Jane 3844 Workin on the raitoad 752 (1 Spanish town 3061 ‘Yankee doodle 753 0 acs chested by Gordon Wats Production: Mark Munord “Tack 29 published by Chappel Musi id “Tacks 8 & 9s pubignes by Warner Chapel Music Lia ‘Alother tacks © and 1994 international Music Publatins Lis2mm Lesson diary & practice chart te Feacher indicates which pagesto tt Enter number of minutes practised study, commencing) |Mon |Tue [Wed |Thur |Fi [Sat [SunGetting started ‘Teachers, who like pupils to experiment with the instrument before Jeamingto use the text, can write helpful notes below, according to the needs of the student.” Otherwise proceed as follows: Starting Note F on page 2, or Starting Note B flat on page 4, or Group Chords on page 19, or Five-Note Patterns on page 11 Lip, jaw and throat positions: Buzzing with the lips: é Buzzingon the mouthpiece laLongnotes ‘Tongued notes: Slurring: Making up rhythms and melodies, and soundscapes: Wty Strip, Oe Pipe 268 Haunted use ~~ fg — odes Allthese notes are possible on your instrument without using the slide or valves, by merely varying the lip-pressure. At first you will probably only be able to produce the lowest notes. Bae =D Bot F °St Start with F es desele 2 leootlocet ls Clap.says Tat postion and play (operrne valves) ddd idddid J therhythm ‘Some of the material on pages 2 to 10 integrates with material on oth pagesin tis and other TEAM BRASS books as an aid to group teaching Follow indications written above appropriate lines. The TIME- SIGNATURE 4 means each bar mustadd up toFOUR beats AMINIM (or HALF- NOTE) lasts for TWO beats ACROTCHET (or QUARTER-NOTE} lasts for ONE beat = Fits with FBook page 4, line 2 2 aeee = Fits with FBook page 4, tine 3 ACOMMA means take a breath i= Fits with page 10, line 1; with F Book, page 4, ineS. a , Lifsitittititeeitrittttstttrttttiti tt PULSE —clapor beat time ‘French time-namesmay be used.3—p— ---thenontoE fat “I 3rd position eee ih = ius, (Ist valve) ] Play the grid across, up or down The flat sign b is placed before the note) which is being flattened. (The other E’s in the BAR LINES divide aline of notesinto (@+141=4) sets, In time each bar adds up to four crotchet beats The DOUBLE BAR marks the end ofapiece of music 2 Pitswith poge5, tine 4 Pavane rrr Slowly and sadly HE Proceed down to D, page 6; or up to G, page 17.or start with B flat . . . 1st position (open-no valves) The flat sign is placed before the note which is being flattened. (The other B in the bar is also flattened) ‘AMINIM lasts for TWO beats ACROTCHET » lasts for ONE beat The TIME- SIGNATURE 4 means each \ bar must A add up to CROTCHET ) FOUR beats REST lasts for ONE beat beat time *French time-names may be used.——= y -thenontoC — NS 6th position tide] JJ) Play the (Ist & 3rd valves) - grid across, eed |e ¢ up,or down add ld? line of notes into sets. InJ time each bar adds up to four crotchet beats % (itittsy a [diay * The DOUBLE BAR | marks the endofa piece of music = Fitswith FBookpage3,line3. Bb’s and C’s = Fitswith F Book page 3, line 4. oe ee = Fits withpage3, line5. Elegy mi Slowly and sadly Proceed up to D, on page 7; or down to A, on page 10.= — ThenoteD (ast Bea valves) ML Thispage is harmonically &thythmically withthe one oppose A SEMIBREVE blasts for FOUR beats a Fits with page 10, line 2; with Faootpoge ine. *2“h The lost note cS “ DE tm = Thiscan be played in EnnjuncionwinAcapulcoBay Acapulco Bay eee 1 ‘Tempo di Beguine HE Proceed down to C on page 8; or up to G on page 17 The ‘S' symbol means the music can be slurred throughout (by euphonium players), if the teacher wishes.3—s— ThenoteD Ath position (Ist & 2nd valves) Hl Thispage fits harmonically & rhythmically with the one opposite. (A SEMIBREVE, lasts for & FOUR beats = Whenplayedin conjunction Suh TieLatNotopposte,” THE lostnote fits with F Book, page 1, ines. f Thiscanbe playedin ConunstonuihAcapuleoBay Acapulco Bay = warm ‘Tempo di Beguine Proceed up to Ebon page 9; or down to A on page 10. The ‘S' symbol means the music can be slurred throughout (by euphonium players), ifthe teacher wishes,F, Eb, Dand C togeth, =]] Make up your own tunes using these notes F/Eb}D|C/D|F/C CME If required, see preparatory ‘C’ exercises on page 5. is Rha eaves) 1& Fits with page 10, line 4 qa = Fits with page 10, ine 5, Gliding ‘s) = = a=] Vigorous March Watchyourstep! [IM eo al Watch yourstep! canbe played in conjunction with Sort'em out! (opposite), or wth piano accompaniment. Sr if =Bb, C, DandEb ie Bb Make up your own tunes using these notes If required, see preparatory ‘Eb’ exercises on page 3. —} = J} |_Two bar phrase (3) _ [Two bar phrase (4) Composed by eleven- year old JENNY WONG fone bey | Hh Sort‘emout! canbe playedin conjunction with Watch your step!SS ThenotelowA 2nd position (2nd valve) HE Allthematerialon this page integrates wth material on previous ‘pages, asmarked. © Fits with page 2, line; with F Book, page4, line’. © Fitswith page6,line3; with F Book, page 1, hine8, Oy © Fitswith page 6, line 4 3) = Fitswith page, tine 2 A with Bb, C and D = Fitswith page8, line 4. 8) For related ensemble material see pages 14, 16, 19, 20, 21.The KEY-SIGNATURE} for Bb major — all B’s and E's are flattened Five-note patterns Ie PE eine “sis teres Make up your own tunes Intervals 2nd au ath sth o 38 SS dots mean that the music should . be repeated ) ‘ContinueWelsh tune eae ofespe - a 2 3) Common Time ie. qtime I Related group ‘warm up’ on page 19; related ensemble on pages 14 & 15; syncopated ensemble on page 21Every bar adds up tothree Composed by crotchets, Slow waltz ‘eleven. year old JOANNE AHMED = ee FY Four bar answer phrase, B 1 This means ‘rest’ for 4 whole bars- socount 23 @23@ 23andthen play from bar5 Adotted minim lasts for THREE beats A setting slower (muted, f possible) Round lullaby Proceed up to G, page 17; or to quavers, page 22; or Eh, page 24; or low G, page 36.14 &B German tune (Bass part with Trumpet duet)* Traditional B Lullaby (Bass part with Trumpet duet)* coust® 2 3023 German tune DUET Traditional Third and fourth parts to trombone duets appear in the F horn book and the supplement to the brass band book. “This part can also be played with the Trombone duets,Tied notes 1 dd iid diddjdiee Aminimtied Acrotchettied Asemibreve tied toacrotchet toacrotchet toacrotchet lasts for 3 beats. lasts for 2 beats. e lastsfor5 beats > WK ~~ andso.on —— Don’t be late! Tied on the slide This means ‘rest’ for 5 bars — so count(]) 2 3 4 @) 234 etc. then play from e bar 6 Canzonetta €B (Bass part with Trumpet duet) | (Polyphonic (soft) text) i “erry Fat 5 (oud) [More tied notes on pages 18, 20 and21. Preparatory rounds on pages 1] & 12ad |_ Side _Valves Slurs (1) a Oren __| _ andlegato tonguing 2 2nd (1) 3 [os | 3S 4 Ist & Bnd 5 2nd & 3rd (3) 4 > Play all slurs with different slide positions y or valve combinations “) a Ar ae Slide slur/legato tonguing # Wu . . ii | = =o (6) PEE ” epee German tune (Third part with F Horn duet) ‘Traditional PSST pee pape pas Lee eee Lullaby (Third part with F Fiom duet) = Se MH Proceed up to G, o to “quavers’ on page 22; or to Elon page 24; or to low G on page 36. German Tune for Trombone duet on page 143——— ThenoteG 5,155 /c| Liaise notes using (Ist & 2nd valves) varied thythm patterns | MI desired, proceed up to A on page 26 Pattern (Based on the QUADRATONE) | ; j LL _PhraseA_y|__-Phrase By, _PhraseArepeated —y] Phrase | T z 3 + | Slow round oO, 2 Continue 1 seeAccompaniments Book conceming the QUADRATONE.New rhythms 1 ] (Make up your own tuned a J[J JJid 2 «using these shythms Jal eas M 2) 8 Dy 3 eel 3 + 124 Phase A (upwards) _,,_PhraseB (upwards) Pheu A (Gownwands) Phrase B (downwards) T Strident and fast Stepping out When the saints go marching in Bouncy Traditional I Proceed to Low G, page 36; or up to A on page 26; or to Ab on, page 32; or to Quavers on page 22; or to Elf on page 24. Related ‘ensemble on pages 20 & 21Brass group B warm-up 1 7A isthesign for PAUSE, meaning the note should be held beyondits normal value Harmony long notes When only two players are available, use 2nd and 3rd {Practise tonguing on each note, devising your own rhythm pattems Unison long notes optional) Slurred slow notes Slurred fast notes 7 aS toe fate oS PS =B Regal fanfare (Bass part with Trumpet ensemble) Maestoso ¢means TWO MINIM J *° "BEATS in each bar, * ie3 time. (Sometimes called =, (° ALLA BREVE time) &B When I first came to this land (Bass part with Trumpet duet) Traditional Fast and furious21 On the repeat, omit these bars _ and go straight to the bar marked |2 ,. Blowin’ in the wind Words and music (Bass part with Trumpet duet by BOB DYLAN Steaily ; iB x = ee : 5 5 Hipes Dyeded J =: pee ‘Chorus Blowin’ in the wind Words and music DUET by BOB DYLAN Steadily or [oe ee ‘Accompaniment for synthesizer Play three times, then on to ‘chorus’ ‘on ‘samba’ rhythm setting 4 4[e> [Le | & [eb] [eb] F | | Chon vo eb | F | Bb [omn| eb | F | Bb | Bb |22 Quavers in {time Every bar “adds up to four & crotchets * Two QUAVERS })) or J} add up'td one’ crotchet Words and music by Here we go! eleven-year old JOANNE O'NEILL Here we go, Rurmninginthesnow, Hav-ing ots of fun now the Win-ter's just be-gun, 3 ® (“Phrase A repeated (same word rhythinsy 1 F Phrase 1 year Comesthefestive cheer: Mer - ry Christmas and Map-py New Year! Once a Make up asong about Winter, Spring, Summer orAutumn, using quavers (ER ‘Continue Continue I Syncopated quavers on page 44; quaversin 8on page 41; dotted-crotchet-quaver on page 42; related ensemble on pages 20,37 & 49.Quavers in : & i time ] ] alm 3 Mecee|s « JAN WW _{RhythmGrdonpage34. Q + Ts Roundabout o @ @) @ This means Make up your own > ‘rest’ for 2 whole bars “tune about something " so count @)2,Q 2 that moves quickly and then play from bar3 & usingquavers Sleighride [UM Sairly tout very loud° - = * Play these notes 2nd position Eb| F|} C/E {Eb| (using varied (2nd valve) rhythm No flat means patterns play E natural — a semitone higher < than E flat wee =] Compose your own piece about a bird or animal — or one of the seasons Composed by ten-year old The cuckoo EDWARD DUCKETT Cuckoo returns in spring : 4 Lm fie Se diteas Sa Se a $ = f HE == (loud) and departs in autumn . This stands for DA CAPO AL FINE, which means go back to the beginning and finish at the bar marked FINE Watch out for E's which are flattenedThe key-signature for F major © — all B's are flattened (but E’s are natural) I To be played with legato tonquing or slide slurring throughout, as directed, 35 The natural sign ‘The NATURAL cancels the effect ofa flat (ora Austrian Holiday Eb/EY Study Tee ee a ae a Pa ae a tempo Related ensemble on page 37.2 6 35=—*— The noteA 2nd position (2nd valve) (8) Merily Sing hosannal ‘Traditional (g) Invteedayte Victorian ballad = [TM] This stands for DACAPOALFINE, which means go back to the beginning and end at the barmarked FINE. , ME A fiat (page 32) can be introduced before A, if desired,Workin’ on the railroad cowboy saloon song Traditional rest lasts for two beats () (12345) In 2 every ., bar adds up to five crotchet beats. apts Continue >> Relevant ensemble: A with quavers, page 37. ‘ContinueUpper Bb 1st position (open) = Bb chromatic scale ost Valves $ 8 1765 4321 $432 1 1234 5123 4567 1 Slide postions Intervals 2nd sud 4h Sth 6h 7th__ 8th (octave) es a = MI Extended chromatic scale on page 55.mezzo forte forte ae You will find” a GLOSSARY of . musical terms on page 62 (s) Maestoso. IAS Study in Bb forte ‘mezzo forte D.C. al Fine slower Try playing * by ear, your favourites from the world of classics, pop or TV. ContinueSlide Valves Slurs (2) ren And slide slurs/legato tonguing 2nd 1 Ist Ist & 2nd 2nd & 3rd, wloalalel|e)ro)- Ast & 3rd Ast, 2nd & 3rd © Delete anacrusisas necessary. Play all slurs with different slide positions or valve combinations Blowin’ in the wind Words and music (Third part with F Hom duet) by BOB DYLAN Steadity Le Blowin’ in the wind for trombone duet on page 21. “Upper C on page 35.Plainchant Play ‘Troe’, Le. nat with 9 strict pale West Se 7S pro- ti, a UD mete mie mp Saas Dd pS = Refer to the CHROMATIC SCALE (page 28) for anynotes you don't already know My favourite things ory From The Sound of Music ‘Words by OSCAR HAMMERSTEIN I ‘Music by RICHARD RODGERS Allegro, ESE EE Mee ip tle ee 5 eet lp ae apt ttt te tf Chromatic scale on page 28. Proceed up to C, page 35; or down to G, page 36; or to Ab, page 32; or to quavers, page 34.The FLAT lowers the pitch ofanote by one semitone See ESS SSS] 2 SSSI C minor round SETS ee Fast and jot We wish you a Merry Christmas Traditional 2 TF ———— SS SS 2S tee an == ne | a> ES) Related ense page 58 smble, page 54; Eb scale, page 56; C minor scale,ee Key-signature ‘| of Eb major C minor Yankee Doodle Traditional SE SS Saee pes adie amas, Aura Lee ‘Traditional Eb major round © oO, Coventry carol Traditional “Upper € on page 35. Relaxation F , seseatAb, ob E = ar a or mR isQuavers up to Bb oan i | YS crescendo iH diminuendo mf a —— ae Quaver study oF =———<—= HE Suncopated quaverson page 44; semiquaverson page 40; dotted crotchet on page 42; § quavers on page 41; dotted quaverson page50.The small line above the stave is called a LEGER LINE — Upper C 3d position (Ist valve) Limp round o @ 8 Edelweiss words by OSCAR HAMMERSTEIN I THOTT) From the Soune! of Music ‘music by RICHARD RODGERS — — ‘Continue ‘Continue ME Sup to C, page 54; quavers up to C, pages 39, 45; semiquavers Up to C, page 40, Relaxation exercises on page 33. Dotted crotchet/quaver, page 42.[36 /3=——— Low G 4th position (Ist & 2nd valves) Compose your own piece using the notes of Lowround —\_the QUADRATONE* 2 gga [10M] Theme from Polovtsian dances ALEXANDER BORODIN (1833-87), Wt, 3 Lilting, not fast Related ensemble on pages 37 and 48, A useful group of notes requiring Ist & 4th position (open and 1/2 fingering only),Au clair de la lune Traditional (Bass part with Trumpet duet) 2S Sere fy —————— 5 Little donkey words and music by ERIC BOSWELL (Bass part with Trumpet duet) D.C. al Fine Sa Fine a Andante —=. Ff D.C. al Fine wv =— > of ie ~ t =Tralentando) Au clair de la lune Traditionel DUET im Fine D.C. al Fine Little donkey words and misc by ERIC BOSWELL DUET mm Fine D.C. al FineBrass group warm-up 2 Harmony long notes AAA QARAARAAAARA RA Makeup word-orname- thythms for s7 tonguing practice When only two players are available, use 2nd and 3rd parts Scale exercise () piano " erscendo forte dimimendo plano p———f——— pf ME More level (2) slurs on page 30,Tijuana brass (Bass part with Trumpet duet) 39 SSeS Se Brighty DUET opera itratrsrg me Dc. al Fine]|? I saw three ships (Bass part with Trumpet duet) Happily ———— * ff Eps deg 1 HL saw three ships for trombone duet on page 54.fe. ia - Semiquavers in mb z ey =————__¥ D.C. al Fine ( Join the dotsin order to make ‘ties’ as and when required Sf ———— Related ensemble on pages 48 and 55.6%: 8 time 2 qmeansthat ) — andits relationship with @ time every bar adds up to 5 a SS twocrotchetbeas/ #, J |) JI J Ji = OS a in uavers are grouped in twos, tomake up one crotchet §means that every In & quavers baradds up to are grouped in THREES TWODOTTED tomake up one DOTTED CROTCHET CROTCHET beat 'y » compose your own lullaby ing time Related ensemble on page 54.The dotted crotchet in 4 Make up your own, melodies using dotted rhythms Join the dots to make the dotted-crotchet/ quaver effect Theme from “New World” Symphony ANTONIN DVORAK 5 a (1841-1904) > = SP eed of ree pao 2 FE tj Quick march Composed by nine-year old REBECKA ELEY ‘Ode to joy’ LUDWIG VAN BEETHOVEN 7 (170-1827) = ate phys Fe= Continue IH Related ensemble on pages 48 and 54.the dotted acca | : 2 M4 and 4 ne ae Jd od Compose your own piece about an interesting place or far-away j country DS. al Fine DS. al Fine stands for DAL SEGNO (meaning go back to the SIGN, bar 3) and stop at the bar marked FINE / Rickshaws Based on the QUADRATONE, Se D.C. alFine I See Accompaniments Book concerning the QUADRATONE.Quaver syncopation ‘Tobe played (A) instrict time and@inswingngtine [dd ofa de Fd od fe Old Liza Jane A ee rics coer esac =—== ; i? See Glossary for new signs {17 Caribbean dance Traditional Tempo di Rumba HH Syncopated crotchets on pages 12, 15 and 21; Related ensemble on page 39. Upper D on page 50.Simply blue : ‘Twelve bar blues muted 1st cime Slow dance style (J=80) 3 Accompaniment for synthesizer ‘on ‘Jazz Rock’ setting 2]f1]4 D min} A7_ |G min|D min} West Indian carnival D min [D min|G min Chords Very fast and rhythmicAu claire de la lune (Third part with F Horn duet) Traditional D.C. al Fine rm Fine Little donkey (Third part with F Horn duet) by ERIC BOSWELL Words and Music L. A. Nitespot Twelve bar blues Sow swing style (J=c.100) med Ist time short gies mute out a =e SS: its Ty rhythmic Optional trumpet variations j a of same Accompaniment for synthesizer Bars notes on ‘slow rock’ rhythm setting [—y I = os i i z GicfaFs || Gs] Gs) R=] Se ‘# Scale of C minor on page 58, ChordsRegal fanfare ] (Bass part with F Horn ensemble) Boldly Ber apHesrEEtrrt Sf - When I first came to this land (Third part with F Horn duet) Fast and furious Dette Regal fanfare ae ers ‘Timpani (or bass drum and tenor drum) and cymbals, om. L _—=r 7 I When I first came to this land for trombone duet, page 20.Michael row the boat (Bass part with Trumpet duet) Traditional Canzona (Past 4) (See Trumpet book) ADRIANO BANCHIERI(1568-1634) Allegro 6 ; pp ee op tees pes Of oe - —=as IS Michael row the boat DUET Traditional sefea fO Little Town of Bethlehem * “Trachittonal (Bass part with Trumpet duet) SSS Sea _ x =a SSeS => sei eg mae! St. Anthony chorale (Bass part with Trumpet duet) JOSEPH HAYDN (1732-1809) DC al Fine (Pp subito —_—_F O Little Town of Bethlehem DUET Traditional St Anthony chorale for Trombone duet on page 54.i J 2 l 2——— UpperD Ist position (open) I gave my love a cherry Traditional Andante cantabile oe eo ™ ey SD The dotted quaver RI) |S! | ST Bod Fis J Parad Theme a - @, _— HI ‘Relaxation’ exercises on page 33.Allegro Say ‘goodbye’ From the opera Mariage of Figaro WOLFGANG AMADEUS MOZART (1756-1791) Sj D.C. al Fine o fyieicm> Dee ee FE =Coninue > Extra material up to D on pages 44, 48, 49, 58 and 59,O Little Town of Bethlehem (Third part with F Hom duet) Traditional — St. Anthony chorale (Third part with F Hom duet) JOSEPH HAYDN (1732-1809) Moderato et D.C. al Fine ito p Play all . slurs with different “ slide positions or valve combinations 5. Slurs (3) WO Little Town of Bethlehem and St. Anthony chorale for trombone duet on pages 49 & 54.Tijuana brass (Third part with F Horn duet) Brightly [Tbe airing)? bias! I saw three ships (Third part with F Horn duet) Slurs (3) — continued eT PY Pr ee Pd Tijuana brass and | saw three ships for trombone duet on pages 39 & 54.St. Anthony chorale DUET JOSEPH HAYDN (1732-1809) sete DUET TraditionalChromatic scale Slide positions 65432 T*34 oak Valves Slide positions 12 spe a 4 an areas ga ct a ae te si s 2 wpacttstee 9 obo ey ber a = i Le ae eee ay March from Judas Maccabaeus (Bass part with Trumpet duet) GEORGE FRIDERIC HANDEL (1685-1759) Allegro Fine a D.C. al Fine March from Judas Maccabaeus DUET GEORGE FRIDERIC HANDEL (1685-1759) Allegro = Fine aXpe. Upper Eb 3rd position (Ist valve) a a Scale & arpeggio of Eb The first noel Traditional — — $= Os — Pomp and circumstance EDWARD ELGAR (1857-1934) Grandioso oe Plt Wr)57 (11) The centipede’s masterpiece composed by fifteen-year old SARAH HART ™ orese Gallop from the opera Orpheus in the Underworld JACQUES OFFENBACH (1819-1880)Scales and arpeggios G minor harmonic G minor melodic 2 Arpeggio of G minor opggaaint tepags C minor harmonic C minor melodic D majorD minor harmonic D minor melodic 2 Bb major Ab major Arpeggio of Ab major otScale of F major ft te ———— ——_—_—_——— Chorale HANS HASSLER (1564-1612) Legato-e camtabile ~ - res oe ™ £ —— — 7 WM] ‘Star Wars’ Main Title JOHN WILLIAMS Allegro assai 3% 3 D.Sal Coda 3 repeat the section from %& to @ and then cuttothe CODA section 3 wa ME Relaxation exercises on page 33.March from Judas Maccabaeus (Third part with F Horn duet) GEORGE FRIDERIC HANDEL (1685-1759) Allegro Fine D.C. al Fine ME March for Trombone duet on page 5562 Glossary of musical terms ‘MUSICAL TERM ABBREVIATION [MEANING IN_ENGLISH forte f T loudly mezoforte f (it. hai moderately loud piano - softly mezzopiano mp (it half) moderately softly fortissimo ff | very loudly Pianissimo @ very softly crescendo erese of —= setting louder diminuendo dim. or —— | getting quieter ritenuto/ritardando re getting slower atempo atthe original speed tempo | speed subito sub, suddenly Moderato ‘ata moderate speed Allegro merry, quick, bright Grandioso grandly Con brio with spirit aaile sim. Continue playing in same style Langsam slowly Da Capo (Al fine) Deor | Gobackto the beginning and DC. al Fine stop at the place marked Fine) Presto quickly staccato Jd d detached, ie, the opposite pone of Legato seo J) Vt savaae rallentando ral. | gradually slowing down Religioso religiously Semplice simply Andante al walking pace Maestoso majestically Adagio slowly sno-(forte) Play quietly fist ime, and = *) loud when mus epeted ‘Common time € 4G le four crotchets perbar AlaBreve ¢ 2 etwomnimbeatsprber Dal Segno D.& (al Coda) Go back to the ‘sign’ fand then go to Coda’) Assai vey Leet smoothly Cantabile ina singing sivle E } and Gea altemativeeae presents a flexible course which can be tailored to suit each student, Ideal for individual, group and class tuition Bo CGS © contains plenty of carefully-graded music in @ wide range Puce es CeO folk, azz and Latin American encourages ensemble playing with varied repertoire for Pe Ce eS: U Cu CS Cec Ce eRe Pe Pore erry includes a free CD comprising over 70 backing tracks to Croce oon Oeste ic offers free downloads from fabermusic.com to integrate COUR DE MRS en Ce ener) Deere) Seo oc toy) Petes Lee eee) Ces) ‘Team Brass Piano Accompaniments/En Deere NSE (Neem 0011 Cana 4 i