Te! pt kod 9] ESSENTIAL E TBARITONE B.C. BOOK 1 ESSENTIAL TS ao” COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Bands... Making music with a family of lifelong friends. Understanding how commitment and dedication lead to success. ‘Sharing the joy and rewards of working together. Individuals who develop self-confidence, ‘Creativity—expressing yourself in a universal language. Band is... MUSICS Strike up the band, Tim Lautzenheiser ns of the baritone can be traced to ancient Rome, where bronze and brass instruments called "tubas’ often played at military and ceremonial functions. The baritone hom, also known asa tenor tuba, first appeared in Germany in the 1830s. Itis the final version of Adolphe Sax’s “saxhom baryton.” ‘The euphonium, closely related to the baritone, was also invented in the 1830s. The tubing of the euphonium is wider (more conically shaped) than the cylindrial tubing of the baritone. Both instruments have 3 or 4 valves and play the same pitches. Baritones and euphoniums can be played using either bass clef (8.C) or treble clef (7.C) fingerings. They are important tenor or bass voiced instruments of the concert band, Baritones play solos and harmonies, and they blend well with other instruments. John Philip Sousa, Percy Grainger and Alfred Reed are important composers who have included baritones in their concert band writing. Some famous baritone performers are Leonard Falcone, Brian Bowman and Rich Matteson. ANOLIUWS 3H 40 ANOLSIH (SBN 0-634-00323-2 Copyright © 1999 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved HAL*eLEONARD® CORPORATIONTHE BASICS Posture Sit on the edge of your chair, and always keep your: + Spine straight and tall + Shoulders back and relaxed + Feat 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 paim 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 air you feel is the airstream. It produces sound through the instru- ment. Your tongue is like a faucet or valve that releases the airstream, Producing The Essential Tone “Buzzing’ through the mouthpiece produces your tone. The buzz is a fast vibration in the center of your lips. Your embouchure (ahm -bah-shure)is your mouth’s position on the mouthpiece of the instrument. A good em- bouchure takes time and effort, so carefully follow these steps for success: BUZZING + Moisten your lips. * Bring your lips together as if saying the letter“m.” + Relax your jaw to separate your upper and lower teeth, + Form a slightly puckered smile to firm the corners of your mouth. + Direct a full airstream through the center of your lips, creating 2 buzz. + Buzz frequently without your mouthpiece. MOUTHPIECE PLACEMENT + Form your"buzzing" embouchure. + Place the mouthpiece approximately 2/3 on the upper lip and 1/3 on the lower lip. Your teacher may suggest a slightly different mouthpiece placement. + Take a full breath through the corners 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 in its case after playing, do the following: + Use the water key to empty water from the instrument. Blow air through it. + Remove the mouthpiece. Once a week, wash the mouthpiece with warm tap water. Dry thoroughly. + Wipe off the instrument with ‘a clean soft cloth. Return the instrument to its case, Baritone valves occasionally need aling To ll your baritone valves: Unscrew the valve at the top of the casing + Lift the valve hatFway out of the casing. + Apply a few drops of special brass valve oll to the exposed valve. + Carefully return the valve to its casing. 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, form your embouchure carefully. Take a deep breath without raising your shoulders, Begin buzzing your lips by whispering “tah” and gradually exhale your full airstream. Strive for an even tone. | REST | oh” ee | RESTGetting It Together Step 1 Step 2 Step 3 Rest the baritone across your lap so the bell faces upward and the mouthpiece receiver points toward you. Carefully twist the mouthpiece to the right into the mouth- piece receiver. 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. Place your left hand on the third valve slide or on the tubing next to this slide. Lift the instrument up toward you. Be sure you can comfortably reach the mouthpiece. Hold the baritone as shown: READING MUSIC Music Staff ‘The music staff fhas 5 lines and 4 spaces where notes and rests are written. mouthpiece receiver Identify and draw each of these symbols: Ledger Lines Ledger lines extend the music staff Notes on ledger lines can be above or below the staff, Measures & Bar Lines Measure Measure x ‘x ‘a BarLine Bar Line Bar Line Bar lines divide the music staff into measures.}O > To begin, welll use a special "Long Tone” note. Hold the tone until your 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. F = REST. 000 123 “Fis played with open valves. Just rest your fingers lightly on the valves. The Beat Notes And Rests ‘The beats the pulse of music, and lke your heartbeat it [Notes tell us how high or low to play by their placement on should remain very steady. Counting aloud and foot-tapping aline or space of the music staff,and hovr long to play by help us maintain a steady beat. Tap your foot down on each their shape. Rests tell us to count silent beats. number and up on each "8." One beat =1& 4 quarterNote = 1 beat Lt 2 QuarterRest = 1 silent beat COUNT AND PLAY se oe se ee ee oe oN oe ae 4 L 3. A NEW NOTE Look for the fingering diagram under each new note, E b £ REST. @00 4 The black circles teil you which valves to push down. "Es (E-lat)is played with 1st valve, TWO’S A TEAM Coutate: Te 2&3 &4& 1e2es ate Larzesasy Te2PasaAS HEADING DOWN Practice long tones on each new note. countato: 1&@2e€3e4e 14E2e3 248 14283 He 1e2as EAE5 indicates the end a Without stopping, play once Double Bar SrIsee Orne Repeat Sign again from the beginning. THE LONG HAUL Double Bar FOUR BY FOUR Counter: Te 2 eS B4R Te2e3 4H THezesHFH THE2EZ 4S TOUCHDOWN ooo 10, THE FAB FIVE Te2ezsade Teresese TePeZHAE TH2PHT RE Bass Clef Time Signature Note Names (F Clef) indicates how many beats per measure Each note is ona line or space of the staff. These indicates the and what kind of note gets one beat. _ note names are indicated by the Bass Clef. position of note ames onia music = = @ beats per measure = : = Z staff: Fourth line = Quarter note gets one beat 3 ise = 2 Sharp {raises the note and remains in effect for the entire measure. Flat blowers the note and remains in effect for the entire measure. Natural § cancels. fiat & or sharp @)and remains in effect for the entire measure. 11, READING THE NOTES compare this to exercise 10, THE FAB FIVE. Te2ese4e 1e2eseHe Le2-HesR4H THE2HT ESE 12, FIRST FLIGHT 13. ESSENTIAL ELEMENTS QUIZ fill in the remaining note names before playing. VA cy: ZeF D c Bb Notes In Review = Memorize the fingerings ee = bee for the notes you've learneck 000 @00 e eo0o 000 14, ROLLING ALONG Goto thenext ine. Half Note Half Rest = 2 Silent Beats a eda Tere 15. RHYTHM RAP clop the rhythm while counting and tapping. Repeat Sign ge 14114 ttt 4 Te2e3e4e 14263048 1428344 TH2EFRAK 1K2KFTR4E 1E2ETE4E 16, THE HALF COUNTS Te2eZeGR 1Q2VFA4 1e2VZEAL 1A2EZRHe Te2aZAAe TareZEdE 17. HOT CROSS BUNS 1ythis songon your mouthpiece only. Then play it on 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 SongWhole Note Whole Rest WholeRest Half Rest A Whole Measure — ve 2 4 Beat = of Silent Beats la2azseae 1e2resade hangs from sits ona TSHRS 20. RHYTHM RAP clap the rhythm while counting and tapping. cop foi LLL. j—.__}d_1J{o_4 21, THE WHOLE THING Te2e3e4e 1820384 12283E4e 1E2EZASR 1A2ESE4A 1Q2E7R4E Duet ‘A composition with two different parts, played together. 22. SPLIT DECISION - Duet Al BES fo Key DRE ‘The Key Signature tells us which notes to play with sharps (f) or flats (b) throughout Signature the music: Your Key Signature indicates the Key of B— play ll 8s and Es as flats ‘AMOUHL 23. MARCH STEPS A Play SSandEes 24, USTEN TO OUR SECTIONS Percussion Woodwinds Brass Percussion Woodwinds Brass Perc Ww. Brass all 25. LIGHTLY ROW 26. ESSENTIAL ELEMENTS QUIZ Draw in the bar lines before you play. B PSS Ee eee eeFermata ON Hold the note (or rest) longer than normal. 27. REACHING HIGHER - New Note Practice long tones on each new note. Fermata'y AG 28. AU CLAIRE DE LA LUNE French Folk Song 29, REMIX Harmony —_twoormorenotes payed together. Each combination forms a chord THEORY 30. LONDON BRIDGE - Duet English Folk Song Z Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who started playing professionally at 2 ‘age six, and lived during the time of the American Revolution: Mozart's music is melodic and imaginative. He wrote more 2 then 600 compositions during his short life, including a piano piece based on the famous song, "Twinkle, Twinkle, Lite Star” 31. A MOZART MELODY Adaptation 32. ESSENTIAL ELEMENTS QUIZ Draw these symbols where they belong and 2 write in the note names before you play: Zi Be:33. DEEP POCKETS - New Note 34, DOODLE ALL DAY 35. JUMP ROPE . One or ore notes that come before the first fll measure, The beats of Pick-Up Notes are Pick-Up Notes svbvacted fiom the lst measure 36, A-TISKET, A-TASKET 1 Pick-up note 4a 1a203046 1e2a3e Sf = forte (play loudly) mf’ - mezzo forte (play moderately loud) ~ piano (olay softly) Remember to use full breath support to control your tone at all dynamic levels. Dynamics 37. LOUD AND SOFT clap fed d tlt el Fe mf P oi 38. JINGLE BELLS Also practice new music on your mouthpiece only. J.S.Pierpont 4 2 of 39. MY DREYDL Use full breath support ot all dynamic levels. Traditional Hanukkah Song of