jrone B.C. BOOK 1 | | ELEMENTS FOR BAND COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK% PRACTICE RECORD | Parent Week Date Assignment/Exercises. Mon ‘Tue Wed Thurs Fri Sat Sun Total InitialsCOMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI ERSCHENIC PAUL LAVENDER TOM C. RHODES DON Band's... Mloking music with family of ifelong fiends. nderstanding how commitment and dedication lea to success Sharing te joy and rewards of working together. Individuals who develop selecontidence. Greativty—expressing yourself n a universal language: Band is... MUSIC! Site up the band, Tim Lautzenhetser Qroins orn vatone an be race tact ome, whee bronze and bras stron cle "tube" ofen played at itary and een fron. The bane ho, also known ‘nor iby fs appeaced in Geman the 13s, hth a ven Ads Sars “eahorn baton! “The siphon dos elated tthe baton, mas abo invented he 1830, The wing fhe euphonium wer (ore cna shaped than the onl go te barton Bothinsttumers have 304 valves and ply he ae ples toner and euphonkume canbe played sng eer as cl 2) obec C) tinge. The ate ior terror as iced rt uments ofthe concert band, Batoes ply slo and arones, and they bend wel with ther nstturent ‘ohn Philp Sous, ee ringer and Aled Red are nportant composers who have lacked barons ntl concar band wing. Sone famous barton permet are Leonard Falcone, fan Bowman and ich team Student Activation Code E1BB-7273-8640-5576 Iso 979-0-654.00322:3 Copyright © 2004 by HAL LEONARD CORPORATION Intemational Copyright Secured Al Rights Reserved HAL*LEONARD® ORPORATION “INOLLAVA:AHT 40 KUOUSTH | | | | |THE BASICS Posture Sit on the edge of your chair, and always keep your: + Spine stizight and tall + Shoulders back and relaxed * Feet flat on the floor Breathing & Airstream Breathing is a natural thing we all do constantly, To discover the correct airstream to play your instrument: * Place the palm of your hand near your mouth, * Inhale deeply through the corners of your mouth, keeping your shoulders steady. Your waist should expand like a balloon, + Slowly whisper“tah*as you gradually exhale air into your palm, The ar you feel is the airstream. It produces sound through the instru ‘ment. Your tongue is ike a faucet or valve that releases the airstream, Producing The Essential Tone “Buzzing” trough the mouthplece produces your tone. The buze isa fas vibration inthe center of yourlips, Yourembouchure fam: sbah srg) your mouth’s position on the mouthpiece of the instrument. A good em- Douchure takes time and effort, so careful follow these steps for success BUZZING + Moisten your lips. Bring your fips together as if saying the letter.” Relax your jaw to separate your upper and lower teeth, Form a slightly puckered smile to firm the comers of your mouth, Direct a full atstream through the center of your lips creating a buzz, Buzz frequently without your mouthpiece, ‘MOUTHPIECE PLACEMENT + Form your"buzzing" embouchure. * Place the mouthpiece approximately 2/3 on the upper lip and ‘V3 on the lower lip. Your teacher may suggest a slightly different ‘mouthpiece placement, + Take a full breath through the comers of your mouth, * Start your buzz with the syllable tah.” Buzz through the ‘center of your lips keeping a steady, even buzz. Your lips provide a cushion for the mouthpiece. MOUTHPIECE WORKOUT Taking Care Of Your Instrument Before putting your instrument back nits case aftr playing, do the flowing: * Use the water key toempty water from the instrument, Bow air through it + Remove the mouthpiece Once a week, wash the ‘mouthpiece with watm tap wate, Dry thoroughly + Wipe off the instrument with a clean soft cloth. Return the instarment to its case. Baritone valves occasionally need oiling. To oil your baritone valves: + Unscrew the valve at the top of the casing, Life the valve half-way out of the casing * Apply a few drops of special brass valve oil to the exposed valve. + Carefully return the valve to its ceasing. When properly inserted, the top of the valve should easily screw back into place. Be sure to grease the slides regu- larly. Your director will recom: ‘mend special slide grease and valve oil, and will help you apply them when necessary. Using only the mouthpiece, orm your embouchure carefully. Take a deep breath without raising your shoulders, Begin buzzing your lis by whispering “tah”and gradually exhale your full astream, Strive for an even tone. | REST | “ah” “tah” | REST .i i | Getting It Together | ‘Stop 1 Rest the baritone across your | fap so the bell faces upward 1 and the mouthpiece receiver points toward you. : Stop 2 Carefully twist the mouthpiece to the right into the mouth- i piece receiver. ‘Step 3 Place your right thumb in the thumb ring. Rest your finger- tips on top of the valves, keep- ing your wrist straight. Your | fingers should curve naturally. Step 4 Place your left hand on the third valve slide or on the tubing next to this slide. Life the instrument up toward you. Step 5 Be sure you can comfortably reach the mouthpiece. Hold ‘the baritone as shown: READING MUSIC Music Staff ‘ The music staff has 5 lines and 4 spaces where notes and rests are written, Identify and draw each of these symbols: Ledger Lines Measures & Bar Lines Measure Measure = a a a = ar Line artine Bartine Ledger lines extend Bar lines divide the music staff the musie staff into measures, Notes on ledger lines can be above or below the staffTo begin, well use a special“Long Tone” note. Hold the tone until your Cm teacher tells you to rest. Practice long tones each day to develop your sound, Long Tone 1. THE FIRST NOTE Hold each long tone until your teacher tells you to rest. REST. 9°00 123 “Fisployed with open valves. Just est your fingers lightly onthe valves. The Beat Notes And Rests The beats the ple of mus, and ke yourhearboat Notes tll us how high or low to play by thei placement on ‘hou rain very steady. Counting sou and ootapping bine or space ofthe muse staf nd how long to ply by help us maintain a send beat. ap yout oot down on each thet shepe. Rests tes count sl bests amber and up on each" Onebeat =1 & J cuartertote = 1heat st 2 auartornest = 1 sllentheat 2. COUNT AND PLAY 3. A NEW NOTE Eb a : 4, TWO’S A TEAM ietpbe bee PP PP ete coumato =1& 2&3 ese T42eF UFR Te2asese THAR EE HEADING DOWN Practice long tones on each new note, 6. MOVING ON UP eo -p pe je} rte oe be Comerp: Ve 2e see 142e3 HGH Ter es HHH TH2HTHAS5 ‘without stopping, play once: ‘again frorn the beginning, Indicates the end Repeat Sign of apiece of music. Double Bar REST. Repeat Sign ¥y Cometto: 1&2 OF HAe THe2EZ RA TAPES RHR THPRSA4E 9, TOUCHDOWN BD z: [@ 000 10. THE FAB FIVE Te2es ese 1eresase THe2e5eGe Ter2asadD Bass Clef Time Signature Note Names ae indicates how many beats per measure Each notes on alineo space ofthe tft. These indicates the and what kind of note gets one beat. ‘note names are indicated by the Bass Clef. poston ofnote names on 3 music = Abeats per measure : aff Fourth ine = Quarter note gets one best | ier = Sharp raisesthenoteand remains in effect forthe entre measure. Flat ‘blowers the note and remains in effect forthe entire measure, Natural cancels at yor sharp) and remains inet forthe ene measure 11. READING THE NOTES Compare this to exercise 10,THE FAB FIVE . Tarzes ase 1ezaseae Te2ese4e TH2eR RoE 12, FIRST FUGHT 13. ESSENTIAL ELEMENTS QUIZ. Filin the remaining note names before playing, &® ¢ DE Notes In Review tee Memorize the fingerings for the notes yourveleamed: 000 @00 e0e 000 14, ROLLING ALONG Go tothe next tine. Half Note Half Rest ee d—+ = ane a laze 15. RHYTHM RAP Clap therhythm while counting ond tapping. Gap ‘Repeat Sign 1e2e3e4e 1R2KFAAG 1E2AFHGE THPETHAE THPHSH4H TAPETEAG 16, THE HALF COUNTS . 1e263048 182838458 TA2GZEMH THEPETHAK THPHSHSH TE2ESUAD 17. HOT CROSS BUNS ty thissong on your mouthpiece only. Then play iton your instrument. Breath Mark 9 ‘Take a deep breath through your mouth after you play a full-length note, 18 GO TELL AUNT RHODIE : American Folk Sone 19, ESSENTIAL ELEMENTS QUIZ Using thenote names and sbytims below, draw your notes onthe staff before paying. pee ee Jereee era eed tetera eee teed Heel eee) D cWhole Note Whole Rest WholeRest Half Rest _ AWhole Measure Oo —_> = a beats = AWhole Te2asaae Te2esade hangs from sitsona astaffling, ——stafffine. 20, RHYTHM RAP. ciop the yenm ite counting and tapping ep VO2H34he 1e20SH4G TH2ASHAe THPeTASE THPEZHAE 182eRE4E 21, THE WHOLE THING Ta2e3ede 182830446 1H243848 1e2GTRAR 19243848 15203848 Duet ‘A.composition with two different parts, played together, 22, SPLIT DECISION - Duet A Key ‘The Key Signature tells us which notes to play with sharps (#t) or flats (b) throughout Sighature EBS MORIN Shauna cern ny daca ee 23. MARCH STEPS 8 Play Bs and Es 24, LISTEN TO OUR SECTIONS Parcussion Woodwinds ass Percussion Woodwinds Brass Per. Wi Brass |All 25. LIGHTLY ROW 26. ESSENTIAL ELEMENTS QUIZ Drow inthe barlines before you play. & . . |Fermata oN Hold the note (or rest) longer than normal. 27, REACHING HIGHER ~ New Note Practice long tones on each new note. Ferrata 7 ac 28., AU CLAIRE DE LA LUNE French Folk Song 29. REMIX 5 Harmony. issermoen ete henna ch 30, LONDON BRIDGE - Duet English Folk Song ‘Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who started playing professionally at ‘age six, anc! lived during the time ofthe American Revolution. Mozar's music is melodic and imaginative. He wrote more than 600 compositions ding his shart ife, including a plano piece based on the famous song, "Twinkle, Twinkle Little Star” 31. A MOZART MELODY “aptation 32, ESSENTIAL ELEMENTS QUIZ Draw these symbols where they belong and 9: mice a the note names before you play:33. DEEP POCKETS - New Note 080 34. DOODLE ALL DAY 35. JUMP ROPE 4 ‘One ot more notes that come before the fist fll measure, The beats of Pek Up Notes are Pick-Up Notes oisyactes om he lst measure 36, AcTISKET, A-TASKET ¥ Pup note : : 4a Varaseds Tareas F ~forte (play loudly) myf’ —mezzo forte (play mocterately loud) p= plano (olay softy) Dynamics Remember to use fll breath suppart to control your tone at all dynamic eves. 37. LOUD AND SOFT Heli pity pd tsde deg 3B. JINGLE BELLS _4%s0 practice new music on your mouthpiece only, 4.5.Plerpont af 39. MY DREYDL Useful breath support at all dyamic level, Traditional Hanukkah Song of P tf10 hth Notes ee ee Sa heehnoe Va Boat Lc Twoormore Eighth _y Beam 2Fighth Notes = 1 Beat Notes havea beam ry op) = Jaaa 1 & — Playon down and up taps. taza across the stems, . . | 40. RHYTHM RAP. cap the iythm while counting and topring | . | | cs poo, wn omy Lea2es eae Teresedea terzesiese terzezsase 41. EIGHTH NOTE JAM Te2eaze4e 18283442 18283 K4e TAPES EAE 42, SKIP TO MY LOU American Folk Song nf > 43. LONG, LONG AGO Goodposture improves your sound. Aways sit straight and tlk | P 44, OH, SUSANNA ‘Stephen Collins Foster Sf a Italian composer Gloacchino Rossini (1792-1868) began composing as a teenager and was very proficient on the piano, [Evil and om. He wote"Wam Tel at age 37 3¢ he st of forty operas ad familar thar sl head oday on 4 radio and televi & 45. ESSENTIAL ELEMENTS QUIZ — WILLIAM TELL Seca GB : ofGj Time Signature Conducting a SE = 2beats per measure Practice conducting this, | \ 3 = = Quarter note gets one beat ‘worbeat pattern 2 6. RHYTHM RAP pede tL fy 7 AAW Ly Tere tered A 1e24 14628 18 tere tare 7. TWO BY TWO Va2e@ 1422 1826 1428 14242 1e2e 1828 1428 Tempois the speed of music, Ternpo markings are usually written above the staff in italian, Allegro Fast tempo Moderato~ Medium tempo “Andante ~ Slower walking tempo Tempo Markings 3. HIGH SCHOOL CADETS - March Allegro John Philip Sousa f seeded embintBery Hanh uk re ». HEY, HO! NOBODY’S HOME Moderato Dynamics Crescendo (gradually louder) Decrescendo ot Diminuendo (gradually softer) ), CLAP THE DYNAMICS ” I Sit 4) Ay Oy P of tS P « PLAY THE DYNAMICS nel er 7 71 PERFORMANCE SPOTLIGHT 52, PERFORMANCE WARM-UPS TONE BUILDER a RHYTHM ETUDE a —o eee ee Lo ‘CHORALE e sf ee 53, AURA LEE ~ Duet or Band Arrangement Part A= Meloy, Part = Harmony) Andante George R Poulton | of of ey 54. FRERE JACQUES - Round (When group A reaches ®, oroup 8 begins ot ©) “ae @ French Fo Sone afPERFORMANCE SPOTLIGHT 55. WHEN THE SAINTS GO MARCHING IN - Band Arrangement Allegro <1 Measure number Ari.by John Higgins 56. OLD MACDONALD HAD A BAND - Section Feature Allegeo ler Bl nd time go.on to meas. 13 _ Bl ft 57. ODE TO JOY (from Symphony No. 9) Ludvig van Beethoven ‘Moderato ‘Ar-by John Higgins nf Bl oa =F a 58. HARD ROCK BLUES ~ Encore Allegro John Higgins St‘one note forthe combined counts ofthe ted notes, = = 4 Tie Aste neconnectng nates ofthe same pth, Py Bea p= - apeats 59, FIT TO BE TIED Dp eee te 2beats 5 60, ALOUETTE ! French-Canadian Fok Song beats Dotted Half Note dp ——e = pn doo ddd tazese Adotadds hal he value of the not, 2 beats #1 beats 61, ALOUETTE ~ THE SEQUEL French-Canadian Folk Song eo =.= es = Sees =F Pee [American composer Stephen Collins Foster (1825-1864) was born neat Pittsburgh, PA. He has become the most recognized song writer of his time for works such as‘Oh Susanna," which became popular during the California Gold Rush of 1848. [EZ tmonghismost wel song ey Ol Hemucy Home’ and "Camprown faces” 62, cee bead Stephen Collins Foste : ses { Fe eas |e aaee aig iS of t 63. NEW DIRECTIONS ‘i rs . — DF Spa PEE = =a eS i tt 64, THE NOBLES Aiways use a fll airstream. Keep flagerson top ofthe valves arched natural : >: = 4 | Spo Sp pe Se ee Beats A 65, ESSENTIAL ELEMENTS rs. a3 Time Signature Conducting zZ = Quarter note gets one beat tweebeat pattem, : 66. RHYTHM RAP ged t L yy y 67, THREE BEAT JAM ‘ Va2ese 12438 T22GFR TAIT] 1E2E SH 1E2ETR THESE TADETE 68. BARCAROLLE Moderato Jacques Offenbach af Norwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suit for a play by Henrik Ibsen in 1875, the year before the telephone was invented by Alexander Graham Bl, "Morning” isa melody from Peer Gynt Suite. Music used in plays,orn lms and television i called ineldental muste. 69. MORNING (from Peer Gynt) Andante Ep bae Edvard Grieg re erie Accent J Enuinictheroe 70. ACCENT YOUR TALENT gdidepddddidddijdddrjeddditd tidied idda Latin American music ha its roots in the African, Native American, Spanish and Portuguese cultures. This diverse = ‘music features lively accompaniments by drums and other percussion instruments such as maracas and claves. 3 ‘Music from Latin America continues to influence jazz, classical and popular styles of music. “Chiapanecas’is a popular childrens dance and game song. 71. MEXICAN CLAPPING SONG (“Chicpanecas”) Latin American Folk Song. E = po pS PPTL EEE === 7 SSE] : = 72, ESSENTIAL CREATIVITY Compose your own music for measures 3 and 4 using this rhythm: : eae ee) SSS eas SSSAccidental Flat b Any sharp, lat or natural sign which 2 flat sigh lowers the ptch of anote by a halfstep. The ‘appears In the music without being in ote Aflat sounds a halfstep below A,and all AS become the key signature is called an accldental, ‘flats forthe rest ofthe measure where they occur. = Seep ame 1 Flat qppiiesto all sn measure 74, COSSACK DANCE Allegoo ae f 75. BASIC BLUES - New Note Hlat apples to alt sin measure v Ab New Key Signature Ist & 2nd Endings Tis ey signature indents the ey of ply Py through the 1st Ending. Then play te repeated section lbsasBiatsalCsastfatsandallAsas Afats, _ ofmust skipping the It Ending and playing te 2nd Erng 76, HIGH FLYING Moderato wn of 2nd time Japanese folk music actully has its origins in ancient China, “Sakura, Sakura" was performed on instruments such as ‘the koto, a 13-trng instrument thats more than 4000 years old and the shakkuhachi or barnboo flute. The unique sound of ths ancient Japanese melody results from the pentatonic or five-note) sequence used in ths tonal system. 77. SAKURA, SAKURA = Band Arrangement Japanese Folk Song ‘Andante A-by John Higgins yp =e ee 4 tf ar