Ê!

BART'ONE sÀXOPHONE BOOK I

ESSENTIAL
ETETNENÍS

CO TPREHENSIVE BAND N'IEÍHOD

ïl l LAUÍ-ZENHEISER
JOHN HIGGINS
CHARLES MENGHINI
PAUL L/AVENDER
Íotvt c. RHoDES
DON BIÉRSCHENK

W!-,,r.l F.^)NÁR.,.
 Eb BARIÍONE SAXOPIIONE BOOK I

ES s ENÍIAt
EL E InENTS
GOI,IPREHENSI\'E BAND II'IEÍIIOD
ÍIl,l
T.AUÏZENHEISER JOHN I{TGGINS CHAN.IES lllrENOHINI
PÀUT. LAVENDER TOll^ C. RHODES DON BTERSGHENK

Bànd is... tlrlaking music wlth a family of lifelong friends.

UndeÍstanding how commitment and dedication lead to success.
gharing the joy and rewaÍds of working togetheí.
lndividuals who develop self confidence.
G reativity--exp Íesslng yo u rse f in a unlveÍsal anguage.
e:na rs llllUSIG!
Stike up the ban.1,
Tim Lautzênheiser

T
In the 1840s, Ado phe sax invented the sàNophone family. n todayt concet band, saxophones {
play harmoniês and blend with other band lnstruments. Saxophones aÍe also very poplrlarjazz
o
2
ànd so o inÍruments. o
{
The saxophone family includes the Bt Soprano, ÊtAlto (the moÍ common), Bl'Tênor, E, Baritone
and B; Bass Saxophone. Fingerings aÍe viÍtLrally thê same on all saxophones, making it possible to E
D
play any saxophone. v
-t
o
John Philip Sousa wÍotê foÍ saxophones in his band compositions. Bizet, Ravel, Debussy and
=
Prokofiev included saxophones in their oÍchestralwÍiting. Duke Ellington'sjazzaÍrangements
D
gÍeatly definêd the unique sound ofthe insíuments, both in solo dnd ensemble playing. xo
!
Some famous saxophone performers are Eugene Rou5seau, SiguÍd Ràscher dnd Gerry lt4ulligan. o
2

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El BS-3025-0780-4353

58N 978 0 634 003t9'6

Copyrlght o 2004 by HAL LEONARD CORPORATION
nteínêiiohal Copyright 5e.!red A I Rights Res€ryed

ffH-a,*r-.Leo+rano'
ÍHE BASIGS
Poslure
sit on the edge ofyour chair, and always keep your:
. Spine stÍaight and tal
. shoulders ba.k ànd Íe axed
. Feet fat on thefloor
ïoking Gcre Oí
Breothing & Airslreom YouÍ lnslrumenl
Breathing is a natural thing we all do constantly. To discoveÍ the coÍect Before putting your instrument
airstream to P aY Your instrurnent: back in its case after playing, do
. Place the palm of your hand neaÍ youÍ rnouth.
the Íollowing:
. nha e deeply throuqh the coÍners ofyour mouth, keeping your . Remove the Íeed, wipe off ex
shoulders steady. Your waist should expand like a balloon. cess moisture and return it to
. Slowly whrsper "too" as you qradua ly exhale air into your palm. the reed case.
The aiÍ youfee is the airstream- lt pÍoduces sound through the instrument.
. Remove the mouthpiece and

Your tongue is ike a faucet oÍ valve that Íeleases the airstream.

wipe the inside with a clean
cloth. Once a week, wash the
Producing ïhe Essenliql Tone mouthpiece with warm tap
Your embouchuÍe fdhm' bah shure)is yout mauth's position on the water. Dry thoÍoughly.
mouthpieceof theinstÍurnent. A good embouchuretakestimeand effort, . Loosen the nêck scÍew and
so caÍeful y follow these steps Íor successl Íernove the neck. Shake out
excess moi5ture and dÍy the
REED PLACEMENT
neckwithaneckceaneÍ,
. Put the thin end of the reed in your mouth to moisten it thoroughly. . Use a body swab to dÍy the
. Looking at the flat side of the mouthpiece, the ligature screws extend to
inside ofyoLrÍ instrument. or,
your right. Slide the ligature up with your thurnb.
drop the weight of a chamois
' Placetheílat side of the Íeed against the mouthpiece underthe ligature.
or cotton swab into the bell.
. Lower the ligature and position the reed so that on y a hairline of the
Pull the swab thÍough the
nourhpro.e , dn be seen dbovê rhê rêêd.
body seveÍal times. Return
. Gently tighten the ligatuÍe screws.
the instrument to its case,
EMBOUCHURE
. Your case is designed to hold
. /Moisten your lips and roll the loweÍ iip over your bottom teeth. only specific objects. lfyou
. Center the molthpiece on your lips and place it in your mouth about tÍy to force anythinq else into
3/4 inch.
the case, it may damaqe your
insirLrment.
' Place youÍ uppeÍ teeth directly on the nroothpiece. The reed Íests on
the ower ip over the teeth.
. Close your mouth around the mouthpiece, like a rubber band. Your
facial Ínuscles all support and cushion your lips on the mouthpiece.
. Keep your chin down and slightly relaxed.

MOUTHPIECE WORKOUT
Form your embouchuÍe around the mouthpiece, and take a deep breath without raising your shoulders. Whisper
"too" and gÍadually exhale your full aiÍstíeam. Strive for an even tone.

REST RE5T
" loo" "lo,o"
Getting lt Íogether
lfyou just playedthe MOUTHPIECE WORKOUT, beqin by corefully removingthe reed. Othetwise, takethe rced frcm its case.

Slep I carefully put the thin end ofthe

reed in your mouth to moisten
thoroughly. Rub a small amount rnculhpieae
ol \ork qredse on Lhe necl .o.k netk
if needed. Clean hands.
1
Slep 2 Hold the body ofthê saxophone
near its upper end and Íemove the
end plug. Loosen the neck screw
and gently twist the neck into the ligoture
bêl
body. Be careful not to bend any rork
keys. Tighten the neck scÍew.

Slep 3 carefully twist the mouthpiece on

the neck so that approximately
1/2 ofthe cork remains uncovêred.
Place the reed on the mouthpiece
(see page 2).

glep 4 Place the neck strap around your body :

neck and attach the hook to the :
ring on the backoÍthe saxophone.
Adjustthe length ofthe strap so
you can comfortably put the íi9hl illsrnb reri
mouthpiece in your mouth.

Step 5 Place your right thumb undeÍ the thumb rest. Put your left
thumb diagonally across the left thumb Íest. Your fingers
should curve naturally. Hold the instrument as shown at left:

READING MUSIC ldentify and draw each ofthese symbols:

Music Sioff Ledger Lines Meqsures & Bor Lines

Measure Measure

\ -\ \

The music staÍf has 5 lines LêdgeÍ lines extend the music 8aÍ lines divide the rrlusic stafí
and 4 spaces wheÍe notes staff. Notes on ledger lines can
and Íêsts àÍe written. be above or below the staff.
4

Long Tone .,r# To begin, we ll use a special "Long Tone" notê. Hold the tone until your
teacheÍtelk you to rest. PÍactice ong tones each day to develop youÍ sound.

I. THE FIRST NOTE

lo Hold each lonq tone untllyour teachertels yoLrto rest.

Frt
v:
e' !, To play"D,'place yout fingersan the keys as shown.

The Beot Notes And Rests

The beat is the pukê of music, and like your heanbeat it Notes tell us how high or low to play by thêir placement on
should remain veÍy steady. Counting aloud and foot-tapping a line orspace ofthe musicstaff, and how ong to p ay by
help us maintain a steady beat. Tap youríoot down on each theiÍ shape. Rests tel us to count silent beats.
numbeÍ and up on each "&."
one bêat = I & J Quarter Note = 1 beat
1. 1 I Quaít€r Rest = 1 silênt bêat

2. COUNT AND PLAY

Count: I & 2 &3&4&l&2&3&4& 1 & 2 & 3 4 1 2 3 4

Tap: I, I I TLTJT I]IIJIIT I I I I I 1 I t I I I t t T J T

3. A NEW NOTE
0O Look foÍ thê finqering diagram with ea.h nêw note.
a
a (c)
o
o
eo

4. TWO's A TEAM

5. HEADING DOWN
0a Practice long tones on each new note.
o
a
o
o
o
o
ó, MOVING ON UP
 5

Without Íopping, play once

Double Bor Repeol Sign again from the beginning.

7. THE LONG HAUT

0e DaubleBar
a
a
o
O
o
e
8. FOUR BY FOUR

Count&Tap: 1 &2 &3

9. TOUCHDOWN
0o
a
a
o
l)
()
(J

r0. THE FAB FIVE

l& 3& 4& I &2&3&4& 1&2&3&4& l&2&3&4&

Treble CleÍ Time Signolure Nole Nomes

(G clef) indicates how many beats per measure Each note is on a line or space ofthe staff. These
lndicates the and what kind of note gets one beat. note names are indicated by the Treble Clêí
\/
naÍnes on a music = 4 beats peÍ measure -t
stêff: Second line = Quarter note gets onê bêat
o
is G.
-
Shorp # raises the note and rêmains in effect forthe entire measure.

Flot b owers the note and rem.ins in effect for the entiÍe measure.

Norurol I cancels a fat (b) or shaÍp (l) and remains in efiect foÍ the entire measure.

I I. READING THE NOTES Compate this to exercise la,IHE FAB FtvE.

l&2&3&
I2. FIRST FLIGHT

t3. ESSENTIAI ETEMENTS QUIZ rittintne renainins note names beÍare ptoyins.

7A
7-
G B
 Dloa c 0oB0oA0rG(]o
o a a
Noles ln Review La .aaa -,
lMemorize the fingeÍings ï-,a
for the notes you've learned: OOOO
e' oo eo eo oo
I4. ROLLING ATONG Gotothe next line. I

Holf Note HolÍ Rest

ê) -1> = 2Beats = 2 Silênt Bêats

1&2& 1t 2&

15. RHYTHM RAP clap the thythm white countinq and tappins.

it ttlt- É t t+ - pr t rl ïl
RepeatSign

-J ,ll
1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& I &2&3&4& l&2&3&4

Ió. THE HAIF COUNTS

1&2&3&4& l&2&3&4& t &2&3&4& 1&2&3&4& l&2&3&4& 1&2&3&4&

17, HOT CROSS BUNS check you embou(hurc and hand position.

BreoÍh Mork ) ïakê a deep bÍeath through your mouth aíteÍ you play a full length note.

I8. GO TEI,L AUNT RHODIE AmeÍican Folk Song

t9. ESSENTIAL ETEMENTS QU1T usinq the note names ond rhythms below, drov,, you nates on the st.tÍf beforc playinq.

r-
)))))) )))
cDcEcB AGA
 Whole Nole Whole Rest HàlÍ Rêst

A Whole Measure
O, ---------------> = 4 Beats of Silent Beats

1&2&3&4& 1&2&3&4& hangsfrom sits on a

à srèfflinê stàffline

20. RHYTHM RAP ctapthe rhythn white cauntins ond tappins.

l&2&3&4& l&2 &3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4&

2I. THE WHOLE THING

I &2&3&4& 1&2&3&4& l&2&3&4& 1&2& 3&4& 1&2&3&4 & r&2&3&4&

Duel A composition with two different parts, played togetheÍ.

22. SP UT DECISION - Duei

^|ffi
,l&
{
Key rhe Key sienature tells us whlch notes to p ay witrr (fi) - n,t' (b) *-,qn.,t
SiEnoture '1"'p'
the Ínusic. Your Key Signature indicatês the Keyof6- play all
o
F's as sharps.
-

23. MARCH STEPS

24. USTEN TO OUR SECTTONS

Por.!s on Woodwlnds

25. UGHTTY ROW

26. ESSENTIAL ETEMENTS QUIZ oraw in the bar tines before yau ptay.

r-
B

Fermotq Ho d the note (or Íeso longeÍ than normal,

27. REACHING HIGHER - New Note

Prd.ti':e lonq tanesonPa.h nPw nate
aa

EF 'l êO
a
a
a
A

28. AU CTAIRE DE I.A I.UNE FÍench Fo k Song

é
o Hormony Two or Ínore notes played toqether, Each combination foÍms a chold,
t-

30. TONDON BRIDGE - Duet Enq ish Foll Song

arf;
il

,ft

I Austr;an composer WolÍgang Amadeus Mozart (1756 1791)was a child prodigywho started playing professiona lly at
o agesix,andliveddurinqthetimeoftheAmericanRevolution. Íi4ozart's musi. is melodicand imaginative. He wrote more
than 600.ompositions during his short life, including a piano plece based on the famous song, "Twinkle, Twinkle, Litt e star."
=
31. A MOZART METODY

32, ESSENTIAL ETEMENTS QUIZ arawthese synbats where they betons and
write in the note names before yau play
'll

r-
33. DEEP POCKETS - New Nole
0o
a
a
F# o
a
eo
34. DOODTE ALL DAY

35. JUMP ROPE

rhebeatsorPick-upNotesare
Pick-Up Nores ffi::[:lïi;':;Jïjlïmeb€ÍoretheriÍstÍu//measuÍe

3ó. A-TISKET, A-TASKET

4& 1&2e13,4& I &2&3&

Í forte lp ày loudly) m,f mezzo forte (play moderately loud) p - piano (play saÍry)
Dynomics Rememberto use fuli bÍeath support to controlyour tone at alldynamic levels.

37. I.OUD AND SOFT

i+:-:ryrr+
38. JINGIE BÊLLS xeep your íinqers ctose tothe keys, cuNed naturctty. L S. PieÍpont

39. MY DREYDT usefuttbrcath support at alt dynanic levets. Traditional HanLrkkah Sono
10

Eighrh Notes
l* l*
) )
I &
Eal:h Erqhth Note = r/2 Beat
2EqhthNotes = I Beat
Playondawnand uptapt.
nn1&2&
Two or moÍe Eighth

nil=ffi
I Bean

40. RHYTHM RAP Ctap the rhythm while counting ctnd tappins

'| &2 & 3 & 4 & 1& 2 & 3 & 4 & &2&3&4&1&2&3&4&

4I. EIGHTH NOTE JAM

'f
'I &2 &3& &3&4&

42. SKIP TO MY TOU Amerlcan Folk Song

43, IONG, IONG AGO Good posture inproves your saund. Aiways
'it
strcishtand tatt

t)

44. OH, SUSANNA 5tephen Colllns Foster

É talian cornposer Gioacchino Rossini(l792 1868)begancomposingasateenageÍandwasveÍyprolcientonthepiano,

o vlota and horn. He wÍote "Williarn Tell" at age 37 as the last of his forty opeÍas, and its familiar theme is stil heard today on
2 radio and television.

45. ESSENTIAL ETEMENTS QUIZ _ WILIIAM TEtt Gioacchino Rosslni

74
,'t
/z
 11

, fime Signolure €onducting -t

tt\l\r,\
4
o
@ = a:"':.::,ïï$ï::ï","",
Practice conductinq this

tz -

RHYTHM

l&2& I &2& &2& 1&2 & 1&2 & 1 & 2& 1 & 2 & 1&2&
47. fWO BY TWO

Iempo is the speed of music. Tempo markinqs aÍe usually wÍitten above the stafí in ltalian.
Tempo Morkings Allegro FêÍtempo Moderato - Medium tempo Andante SloweÍ walking tempo

48. HIGH SCHOOT CADETS - Morch

Allcgro John Philpsousa

49. HEY, HO! NOBODY'S HOME - New Note

0r
!a
E a
a
e

Dynomics
cr€s(endo (qÍadua Iy loudeÍ) De.res.endo ot Díminuerdo (gradually soíteÍ)

50. CTAP THE DYNAMICS

p_
J pLJ-J r+
_ Jt'

5I . PIAY THE DYNAMICS

 PERFORMANGE SPOT1IOHT
52. PERFORMANCE WARM-UPs
ÍONEBUILDER
ri\
+*

RHYTHM ETUDE

RHYTHM RAP

CHORALE
a:

.p mf

53. AURA tEE - Duet or Bond Arrongemenl

(Part A = l,4elody, P,3ttB= Hatmony)

A
o-f ?

nf
->p

A
o =-) -- p
"!f "í' a:
B

nf, p

54. FRÈRE JACQUE5 - Round Mnen s,oup A reaches @, group B besins at @)

o @
French Folk Song

f
 '13

t
PERFORN'IANCE SPOTTIGHT
55. WHEN THE sAINTS GO MARCHING lN - Bond Arrongement
qrresro AÍr. by John Higqins
lA t MPaiLt!-nttnbe,

nf
E

--.f @

5ó, OtD MACDONATD HAD A BAND - Section Feoiure

Allegro

2ndtimeao on to mea'13

57. ODE TO JOY (from Symphony No. 9) Ludwig van Beethoven

Aí. bylohn Higgins

mf
E tr

58. HARD ROCK BTUES - Encore

Allegro John Hiqqins

f
14

A curved ine connecting notesofthe same pitch. Play

Tie one note for the .ombined counts oíthe tied notês.

59. FIT TO BE TIED

ó0. ATOUETTE Ërên.h Cànadian Folk Sono

Dotted Holí Note

J. --------* =, ,"",, ).-o^ ) ,_,) ).
l&2&3& A dot adds halfthe value ofthe note. 2bêats+tbeat 3 beats

óI. ALOUETTE - THE SEQUEL F'en.h cànadian Folk Sono

4 AmeÍican composer Stephen Collins Fosteí {1826-l864)was boÍn neaÍ PitBbuÍgh, PA. He has becomethe moÍ recognized
o
ts song wÍiter of his time for works su.h as "oh Susanna," which became popu ar during the californià Gold RLrsh of 1849-
Among his most we known songs are "My O d Kêntucky Home" and "camptown Races."

62. CAMPTOWN RACES Stephen Co lins FosteÍ

Allegr0

nf
ó3. NEW DIRECTIONS - Ne\,v Note
0o
a
a
a
a
a
o
ó4. THE NOBTES Always use a futl airnream Keep íinsers dbave the keys, .utved naturcttv.

3 be,lts )

ó5. ESSENTIAI ELEMENTS QUIZ

Ê
t 15

3 Time Signolure Conducting rl\,

,lt
-t
4

óó. RHYTHM RAP

# 3 beats per measure
Quaíter note gets one beat
Practice conducting this ïl \\\,
l/..--l-'./
C'
v

il :{r
l&2&3&
1
1&2&3& 1& 2& 1&2&3& f& P,2& 3& l& :t& 'I &2&l&

ó7. THREE BEAT JAM

l&2&3& 1 &2 2 2&3 & l&2&3&

ó8. BARCAROTIE
Jacques offenbach

mf

Norwegian composer EdvaÍd Gíieg (1843 1907) WÍole Peet Gynt Sutte fo r a play by Henrjk lbsen in l875,theyear
b€íoretheteephonewàsinventedbyAlexanderGíahamBe. "^,4orninq" is a melody from Peer Gyrt suir€. Music o
used ln p ays, or in films and television, is called incidental music. -

ó9. MORNING (from Peer Gynt) EdvaÍd Grieg

? mf,
----
Accenl ) Emphasize ihe nore.

70. ACCENT YOUR TATENT

4@}1rr-l-L]1@r
Latin American music has its Íoots in the AfÍican, Native AmeÍican, Spanish and Portuguêse cultures. ThÈ djvêrse
musicíeatures lively accom pa n iments bydrums and other percLrssion ingtruments such as maracas and claves. -t
Music from Latin America continues to influencejazz, classical and popular styles of music. "chiapanecas" is a o
populaÍ children s dance and game song. -

71. MEXICAN €tAPPING 50NG ("Chiaponecos") àrln Ameri.àn Fó k Sona

.f
72. ESSENTIAT CREATIVITY Camposeyaurown muti. for nedsuret 3 and 4 using this rhythn:

) ) !-r-]1 )) )

2
16

4
o Accidentol Nqrurql h
Any sharp, flat or natuÍal slqn which appears ln the music A naturalsign cance s a fat (b or sharp(l)
t- without being inthe keysignature È called an àccidental. and remàins in êffect for thê êntirê mêaslrre.

73. HOT MUFFINS - Ne\,v Note

0o Naturcl opples to all F\ in measure.
a
!
F a
o
eo
74. COSSACK DANCE
Allegro

í
75. BAS|C BIUES - New Nole
lo Natunlapplesta dllF\ in neasute.
a
!
F a
o
eo
[- --'''lE ----'-l
I
o New Key Signoture I sr & 2nd Endings
t- Thls Key Siqnature indicates the Playthrouqh the 1st Endinq. Then playthe Íepeated section
KeyoÍc(no sharps orfl ats). of music, skippinq the 1st Endinq and plàyinctthe 2nd Endinq.

7ó. HIGH FTYING

é Japanêsê folk music actua l y has itsorigins in ancient china. "sakura, Sakurà"was performed on instrumentssuch as
o
ts the koto, a l3 sÍlng lnírumentthat is moÍethan 4000 yea rs old, a nd rhe shakuhachi or bamboo flute. The unique
sound ofrhis ancient lapanese melody results from the pêntatonic (or five note)sequence used in this tona system.

77. SAKURA, SAKURA - Bond Arrongemenl Japanese Folk song

Arr. by John Hiqqins
 17

78. UP ON A HOUSETOP
Allogm !-,----- lF

79. JOTLY OLD ST. NICK - Duer

:I
nf
See pdqe 9 for additional holiday nusic,l\/lY DREYDL ond IINGLE BELLS.

80. THE BIG AIRSTREAM - New Note

fo
a
a
O
o IG
eo
8t. watTz THEME (THE MERRY WIDOW WATTZ)

82. AIR TIME

83. DOWN BY THE sÍATION

Àll€sro

mf
84. ESSENTIAt EtEMENTS QUIZ

n ,tf
85. ESSENTIAL CREATIVITY usins these notes, inpravise your own hythms:

:Ê q'-
 íA
oxr.v wARM-uPs WORK OUTS FOR IONI8 TTCHNIQUL

8ó. TONE BUILDÊR use a *eaay nrcan oÍan.

87. RHYTHM BUITDER

88. TECHNIQUE IRAX noll your thunb up to the actove key. Always keep yau thumb an the left thunb rcst.

89. CHORAIE \dapted fron cantata i4t) Johann 5ebàstian Bach

a\ A

É
o Theme ond Voriotions A musicalíorm featuring a theme, oÍ primàry melody,
followed byvàriations, or akered versions ofthe theme.
F

90. VARIATIONS ON A FAMII.IAR THEME

Variation 2

At the D.C. al Fine play again frorn the beginninq, stopping at Finê ífee'- ndy).
ol Fine D.c.ls the abbreviatlon Íor Da capo, oÍ "to the beqinning," and Fine means "the end."

9I. BANANA BOAT SONG

Caribbean Folk Song

l).C. alrinc
 19
{
ofa note by a half step. The note C{harp sounds a half step
A sharp sign raises the pitch
Shorp dbove c, and allC's become C sharpsfoÍthe restofthe measuÍewhere they occur. o
-
92. RAZOR',S EDGE - New Note
0o
a
c# o
O
eo
93. THE MUSIC BOX

African-AmeriGn spiíituals originated in the l70o's, midway thÍough the peÍiod of s aveÍy in the lJnited St.tes.
One ofthe argest categories oftrue American folk Ínusic, these primaÍiy religious songs weÍe sung and passed on {
foÍgênerationswithout being wÍitten down. Íhefirst collection ofspiritua s was published in l867,fouryeaÍsafter o
Íhe Emancipation Proclamation was siqned into law.
-

94. EZEKIET SAW THE WHEET Afrlcan AmeÍican Spirjtuàl

{llegro

Slur Acurved ine which connects notesofdifferent pitch. Tongue onlythe first notê in a slur.

95. SMOOTH OPERATOR

), Slut 2 nates tonque anly the first

9ó. GIIDING ATONG

i Slut l nates tongue only the first.

RagtimeisanAmericanmuslcstylethatwaspopuarÍromthel890'sunti the tirne of Wor d War . ThlseaÍyÍormof
jazz brou.lht fame to pianists like '!elly Roll" ívonon and scott Joplin, who wrote "The Entertainer" and "lMaple LeaÍ R.9."
{
SuÍprisinqly, the style was incoÍporated into some orchêstra music by lgor sÍavlnsky and Claude Debussy. o
7'
ïhe tÍombones now learn to play a g/issdndo, a technique Lrsed in Íaqtime and other Íyles of music.

97. TROMBONE RAG

f
98. ESSENTIAL EI.EMENTS QUIZ
D.(1. àl lh'e

n
20

99. TAKE THE LEAD - New Note

lo
a
!o
F# a
eo
é
o PhfOSe A musical "sênience which is often 2 oÍ 4 measures long- TÍv to plav a phrasê ln one breath

100. THE COID wlND

pnÍ
l0l. PHRASEOTOGY write in the breath natk(s) between the phrces.

Ne'rr Key Signoture Mulriple Meosure Resl

É This Key signature The number above the stafftel s yoll
o how many ful measuÍes to rest.
indicates the K€yofD play
ts a I Ft and C's as sharps. count each measlrre of Íest in sequence:
1-z-z q 2zzq
IO2. SATIN TATIN
Allegro

nÍ 1z-z-q 2zzq

GeÍman composer Johann Sebastian Ba(h (1685-l750) was paÍt of a large family offamous musiclans and
È
o became the most recognized composer ofthe Baroque era. Beginning as a choiÍ member, Bach soon became
dn organist, a tea.her, ànd a pÍolific cornposeÍ, writing moÍe than 600 masteMorks This Mlnuet, or dance in
2 3/4 time, was written as a teaching piece íoÍ use with an early foÍm ofthe piano

r03 MINUET - Duel Johann 5ebastian Bach

:I nf
I 04. ESSENTIAI CREATIVITY This nelady can be ptayed in 3/4 or 4/4. Pencit in either time signoturc, draw the bar lines ond
play. Naw erasethebat lines andtry theothertine tignaturc. Da thephrases sound differcnt?

2
 21

I05. NATURAIIY

Austrian coÍnposer Franz Peter Schubeít (1797 1828)livedashorterlifethananyothergÍeatcomposer,buthe

cÍeated an jncredible amount of Ínusic: more than 600 art songs (concên musicfoÍvoice and accompaniment), ten -t
o
synrphonies, chambeÍ music, opeÍas, choral works and piano pieces. His "March Militaire" was originally a piano duet. v
IOó. MARCH MITITAIRE
All€gro

{
Aflatsiqn oweÍsthepltchofanotebyahaf'step. ThenoteB-fatsoundsahalÊstep
Flot below B, and allB's becoÍnê B Ílatsforthe restofthe measuÍewhere they occur. o
-

IO7. THE FIAT ZONE - Ne\,v Noie

0o
a
OQ
Bb OO
ao
êo
IO8. ON TOP OF OtD SMOKEY American Fo k Song
Allegro

Boogie-woogie is a style oÍthe blues, and it was íirst recorded by planist Clarence "Pine Top" Smith in 1928,
{
one year after Charles Lindbergh's solo fliqht across the Atlantic. A form ofjazz, blues Írusic features a tered o
notes and is usually written in l2 measure verses,like "Bottom Bass Boogie." -
IO9. BOTTOM BASS BOOGIE - Duet

B
 Dofted Gluorler A dot àdds h.lf
l.---) \< A srngle eighth

& Eighrh Notes J.*)=,,"",, the varue ofthe

d!àrteí notê.
'1e2&
) ) ) , / note has a Ílaq

1&2&

I IO. RHYTHM RAP

#- 1&2 &3&4&l&2&
III. THE DOT ATWAYS COUNTS

I &2&3&4 &1&2&3
I I2. ALL THROUGH THE NIGHT D.C. àl lin€

nf
I13. sEA CHANÍY Atways use afuttairsttean English Folk Song

I 14. SCARBOROUGH FAIR English Fo k sonq

ir- i) +
I 15. RHYTHM RAP

1&2&3&4&1
I Ió. THE ÍURNAROUND

1& 2 & 3 & 4 & I & 2 & 3 & 4 & 1&2 & 3 &4&

117. ESSENTIAT EIEMENTS QUIZ - AUI.D IÁNG SYNE Scoftish Fo k Song

n
 PERFORIT'IANGE SPOTTIOHT
You can pefoÍm this solo with oÍ without a piano accompanist. Playitforthebànd,theschoolor
Solo wiÍh Piono your family. lt È paft of Symphony No. 9 {"From The New World"} by Czech composeÍ Antonin
Accomponimenl DvoÍák {1841-1904). Hewrote itwhievisiting America in l893,and was inspiÍed to include
rnelodies froÍn AmeÍican Íolksonqs and spiritua s. This is the Largo (or "veÍy slow tempo") theme.

I 18. THEME FROM "NEW WORTD SYMPHONY"

Antonin DvoÍák
E!

@ sro'"".

Piano Accompaniment

Esr,,"-
 Great musicians give encourcgement to fellow petfotmets. On this page, clainetists learn their innrunents uppet
registet inthe "Grenadilla Gotila lunp{'(naned aftet the grcna.lilla waad used to make datinets) Bross playets
lean lip slurs, a new warm-up pattern. Ihe success af you bond depends on evetyone's effort and encauragement.

I I9. GRENADILLA GORILLA JUMP No. I

I2O. JUMPIN' UP AND DOWN

l2l. GRENADILI"A GORlttA JUMP No. 2 - Nê\M Nole

/" <> /-; /-+

I22. JUMPIN' FOR JOY

/-r

123. GRENADIIIA GORlttA JUMP No. 3

I 24. JUMPIN' JACKS

The distance betwêen two pitches is an interval. StaÍting with 'l on the lower note, count each line
lnlervol andspacebetweenihenotes.Thenumberofthehiqhernoteisthedistanceoftheinterval.
4 2nd --- 3rd --------l 4th---------r 5th----------------t 6th- ------------ 7th Octave
o
-
{} {}

125. ESSENTIAI ETEMENTS QUIZ wrne in tte nunbes of the inte1ah, @untins up frcm the lawet nates.
,,--------j-\
r-
lntetvals: L2!!\
 )5
l2ó. GRENADILLA GORlLtA JUMP No. 4

I27. THREE IS THE COUNT

128. GRENADIIIA GORIILA JUMP No. 5

I29. TECHNIAUE TRAX

.-------lr-. '------\ ,---i---)\

130. cRosstNc ovER

trio composition with thÍee parts played together. Practice

frio A
this
is a
Íio with two other p ayers and listen for the 3 pan hamony.

r3r. KUM BAH YAH - Trio Atwoysóe*the key

'isnature. AfÍican Folk Song

A
)6
Repeat the section ofmusic enclosed by thê repêat signs.
Repeot Signs (lf lst ond 2nd endings ate used, they are pldyed as usual- but
ga backonly tathe fist rcpeat sign,nottothebeginning.)

I32. MICHAEI ROW THE BOAT ASHORE Afri.àn Ameri.èn 5olrihrà

I33. AUSTRIAN WATTZ Austrian FoLk Sonq

Nloderato

I34. BOTANY BAY Australian Fo k sonq

C Time Signoture €onducling

I
o
PÍactice condLrcting
t- {sameasf,)
this four beat patteÍn.

r 35. TECHNIOUE IRAX Practíce dt att (tvnani( tevets.

I3ó. FINTANDIA lean Sibelius

lndalrt _=-\

I37. ESSENTIAT CREATIVITY

Creoteyout own vo ationsby penciling in a datand aflag ta chanqe therhythmafany me,isutefrcm .l - .l-. .\
,Ê
 27

I38. EASY GORITIA JUMPS

I39. TECHNIQUE TRAX .q/woys rheck t he key sisnature.

I4O. MORE TECHNIAUE TRAX

I4I. GERMAN FOLK SONG

mf

142. tHE SAINTS GO MARCHIN' AGAIN lamês Bla.k ànd Kaiheíine Puruis
Allegro

I43. LOWTAND GORILIA WAIK

0o
O
0q
ao
I]O
Ín9eÍin9 êo U te a lte rnate C fi n g e i n g Use ahernoteC hnqetinq

144. SMOOTH SAITING

I45. MORE GORIIIA JUMPS

I4ó. FULL COVERAGE

t Use aherndte Cfingering

2A

É A scale is a seqLrenceofnotês in ascendlng oÍdêscending order. Likea musical"ladder,"

o Scole each step is the next consecutivê note in the key- ïhisscaleislnyolrrKeyofG(oneshaÍp),
so the top and bottom notes are both G's. The interval between the G's ls an octave.

147. CONCERT Bt SCATE (Boritone Soxophone - G SCATE)

5co/e l
Stepsi

I Chord & When two oÍ more notes aÍe played togetheÍ, they foÍnr a chord or harmony. This G choÍd s
o builtfrornthelst,3Ídand5thstepsoftheGscale. The 8th step is the same as the 1 st, but it sàn
Arpeggio octave higheÍ. An aípeggio is a 'broken" choÍd whose notes are p ayed indlvidua ly.
t-

148. tN HARMONY Divi.le the notesofthe chords between bdnd membe3 and play together. Does the arpeggia sound like d óord?
- l
13531 85358
-Arpeggio -Arpeggio

I49. SCATE AND ARPEGGIO

Arpeqqio

AuÍriancomposerFranzJosêÍHaydn('1732'1809)wrotel04symphonies. ít4any ofthese works had nicknames

É
o
F
and inc uded brllliant, unique effectsÍortheirtirne. His Symphony No.94was named "The Surprise symphony
because the soÍt second movement included a sudden loud dynamic, intended to wake up an often sleepy
audience. Pay special attêntion to dynamics when you play this famous theme.

I5O. THEME FROM "SURPRISE SYMPHONY"

I5I. ESSENTIAL ETEMENTS QUIZ - THE STREETS OF I.AREDO American Folk Sonq
Wtite in the nate namesbefarcyou play.

7A
2
 29

PERFOR.MANGE SPOÏLIOHÏ
152. SCHOOT SPlRlT - Bond Arrongement W.T. PuÍdy
Aí. byJohn Hlgqins
l! < tueasureNunber

nf
tr

:-f,

When playing music marked soli,you are part ofa gÍoup "so o" orgroupfeature. Listen carefully in
Soli "carnival ofVenice," and name the instruments that play the Soli part at each indicated measure number.

153. CARNIVAL OF VENICE - Bond Arrongemenl lulius Benedict

AÍÍ. by John Higqins
Allegro

8 7 S.li
30

n DAITY WARÍN.UPS WORK,AUTS FOR TONE & TECHNIQUE

I54, RANGE AND FTEXIBITITY BUITDER

I55. TECHNIQUE TRAX

t5ó. cHoRAtE Johann Sebastlan Bach

/:\ a:\

p -:_- nf

É The traditional HebÍew me ody "Hatikvah" has been lsrae 's natlonal anthem sincê the natlon's inception.
o
ts At the Dec aration ofstate in 1948, it was sung by the gatheÍed assemblyduÍing the opening celemony
and p ayed by membeÍs oíthe Palestine Symphony OÍcheÍra at its conc usion

I57. HATIKVAH lsraêliNationa Anthem

t 31

Eighrh Nore ) = r/z beat oÍ sound

)T \
& Eighrh Resr 7 = 1/2 beat of silen(e
1&2& 1&2

I58. RHYTHM RAP

l&2&1&2&1&2A 1t2& 1&2& 1R2&1&2&

I59. EIGHTH NOTE MARCH

l&2& I & 2 & I &2 & I &2 & 1& 2 & I & 2 & I & 2 & 1& 2 &

I ó0. MINUET lohànn Sebastian Bach

I óI. RHYTHM RAP

';;L) ) ) +: rJl .t+l r-bJ r J-L +l
J-[f]1&2&3&4&
'l&2&3&4& 1&2&3&4& 1e 2& 3&4 &

Ió2. EIGHTH NOTES OFF THE BEAT

1&2&3&4& 1P,2& 3 & 4 & 1& 2& 3 & 4 & 1&2& 3&4&

Ió3. EIGHTH NOTE SCRAMBIE

Ió4. ESSENTIAT ETEMENTS QUIZ

n
32

ló5. DANCING MELODY - New Note

lra
!a
Êb a
o'
AmeÍican composeÍ and conductorJohn Philip Sousa (1854 1932)wrotel36marches. Known as "The March King,
4
o
t-
SoLrsa wrotê lhe Stdri Árd Stripes FoteveL Semper Fidelis,The Washinqtan Post and Ínany other patriotlc works. Sousa's
band peÉormêd a over the country, and his fame helpêd booí the popu arity of bands in America. Herê is a melody
from his famous E/ Cdpirdr operetta and maÍch.

Ióó. Et CAPITAN John Philip Sousa

Àll€gro

É "o foÍn erly known as the "Nationalsong," was írst performed dLrling'1880 in French Canada. RobeÍt
ca nada,"
o
t- Ía nslated the English languaqe version in 1908, but it was not adopted as the nationalanthem of
stan ley Weir
(.ndd.ulLil 1980 or.11 1dí"dyê".dÍr"r il p êÍrre e

Ió7. O CANADA calixa Lavdllee,

'Hon.ludqe RouthieÍ
Nlaestoso (Nla.iesticàlly) and lustice R.S. WeiÍ

tr

r ó8. ESSENTIAI EIEMENTS QUIZ - METER MANIA corn r ona r tap berot e ptayins. can yau conduct this?

7A
2
 dandEt A,t andBb
Enhqrmonics
I
Two notes that are wÍitten difíeÍently, but sound On o piano keybaard, eaó
the same (and playêd w th th-. same finclerinq) are block key is both a flatand o
caledenharmonics. YouÍfingeÍing chaft on pagee -
4ó 47 shows the fingerings for the enharmonic
notês on yolrr instrument.
c D E F GIA B c

I ó9. SNAKE CHARMER Enhormoni.nates usethe s.tnefin.terinq.

lo
a
a
Eb/D# a
a
c'
I7O. DARK SHADOWS

l7l. CTOSE ENCOUNTERS Enharmanic nates use the samefinserine.

0r
a
OQ
Bb/A# 00
|(J
êO
r Bl,

t72. MARCH S|AV Peter lllyich Tchaikovsky

Largo

I73. NOTES IN DISGUISE

ChÍomatir notes aÍe altered with sharps, flats and naturà slgns which are not in the -t
Chromotic
Noles
key signatuÍe. The smallest distancê bêtween two notes is a ha f step, and a scale made o
up ofconsecutive ha f-stêps ls called a chromati( s(ale. -

I74. HALF-STEPPIN'
lo
a
!
F# a
r3
Íngern9 O
 FÍench composerCamille Sàint-Saëns (1835_1921)wrote musicforviriuallyevery medium: operas' suites,
symphonies and chamberworks. The"EgyptianDance'isoneofthemainthemesfromhisfarnousopeÍa
Samson et Detilah. The opêrawaswritten in the same year that Íhomas Edison inventedthê phonograph 1877

175. EGYPTIAN DANCE watch Íor enharnonics Càmil -.5áint'Saêns

t7ó. S|wER MOON BOAT

Largo

l).C. al Iin€

GermancornposerLudwigvanBeethoven(1770'1827)isconsideredtobeoneofthewordsgÍeatestcomposêrs'
É despite becomlng compleiely deaf in 1802. Ahhough he could not heàr his musicthewaywe can' he coLr d "hear" it
o
F in his mind. AsateÍarnenttohisgÍeatnêss,hlsSymphonyNo.9(p.13)wasperforÍnedasthelnaletothecêremony
celêbrating the Íeunification ofGermany in 1990. This is the theme frorn his Symphony No T, second nnov€ment

177. THEME FROM SYMPHONY NO. 7 - Duet I udwio van Bêêthoven

Allegro (nr)deràlel] Íast)

B
LF
 35

Russian composer PeteÍ lllyich Ídaikovsky ('1840 1893)wÍotesixsymphoniesandhundÍedsofotherwoÍksincuding

The Nutcrackerballet. He was a mastêr at writing brilliant settings of folk music, and his oriqinal rne odies aIe among the {
most popu aroíalltime. His 1812 Overturc and Capr.cio /tdlie, were both wÍitten in I 880, the yea r after Thomas Edison o
a
devêloped the practicale ecÍic liqht bulb.

178. CAPRICCIO ITALIEN .arways r,lec k the key sisnature. Peter lllyich Tchaikovsky

Allegro

I79. AMERICAN PATROL

I8O. WAYFARING STRANGER Afri.àn AmeÍi.àn SóiÍinral

t 8I. ESsENTIAI ETEMENTS QUIZ - SCAIE COUNTING CONQUEST

Ê
 PERFORMANGE SPOT1IOHT
182. AMERICA THE BEAUTIFUI - Bond Arrongement Samuel A. Ward
Arr. bylohn Higqlns
> ?>,

l! rt ndrnrc

@ ltn".tn"n

t83. tA CUCARACHA - Bond Arrongemeni Latin Arnerican Folk Song

Lrli'r Ro.k Aí. by John Hiqqins

+ ) a! a'à

-p
t 17

PERFORThANCE SPOÏLTGHT
184. ÍHEME FROM l8I2 OVERTURE - Bond Arrongemenl Peter lllyich Íchaikovsky
Arr. by John Hiqgins
À 4llegro

nf
@
 PER,FORMANGE SPOÍ1IOHT
Pe#oÍming íoÍ an audience is an excitinq paÍt of being involved in muslc. This solo is based on
Solo with Piono Synphony Na.16y Getnan co m pose r Johannes Brahms 11833-1897) He coÍnpleted hisíÍst
Accomponimenl symphony in l876,the same year that the telephone wàs inventêd by Alexander Graham Bell You
and a piano accompanist can peÍorm thisforthe band or at othêr schooland community evênts

185. THEME FROM SYMPHONY NO. I - Solo ícon."'t Johannes Brahms

AÍ. bylohn Higgins
tr

, t-
11

a:

tl+,,"
:-
 39

DUETS
Herê is an opportunity to gettogether with a Íriend and enioy playing music. The othel playeÍ does not have to p ay
the same instÍument as you. Try to exactly match each other's rhythm, pitch and tone quality. Eventually, it may begin
to sound like the two parts are being played by one personl Later, try switching paÍts

r 8ó. SWING tOW, SWEET CHARIOT - Duet Afrcàn Amer can 5olÍitua

:[H

l)-C- ál l-inc

187. I.A BAMBA - Duet

,\lleero

:[H

I).C. al Fitrc
 R.UBANK' SGAIE AND ARPEOCIO STUDTES
BARITONE SAXOPHONE KEY OF G ICONCERï Bbl tn this key sisnature, ptay attFc3.

t.

BAnFONE SAXOPHONE KEY OF C (CONCERÍ Ebl

t.
 41

RUBANK' SGA1E AND ARPEOOIO SÍUDIES

BÀR|ïONE 9AXOPHOIIE KEY OF D IGONGERI Fl n tnis rcy sisnature, ptay ouFt'sand ct's

t.

BARIïONE SÀXOPHONE KEY OF; ICONCERÏ Abl tn this key siqnature, ptay attBb's.

t.

3.

4.
42

Wnnvrlr.ln sruDrEs
 43

,Ê nnvtHm sruDrEs

fltirJ--b* J:J +J+-l

6l

2L

+ r=r
 CREATING TNU$C
Composition is the artofwriting oigina music. A composeÍ often begins by cÍeating a melody
I made up of individual phÍàses, likê shoÍt muslca "sentences." 5oÍrê melodies have phrases that seem
o Composition to answer or respond to "question" phrases, as ln Beethoven's Ode fo-loy Playthismelodyandiisten
to how phrases 2 and 4 give slightly different answerc to the same question (phÍases I and 3).

l. ODE TO JOY Ludwig vàn Beethoven

l.Question

2. Q. AND A. w,i,.sou' o^n an't 't phro'P intnamPtoo\

3. PHRASE BUIIDERS tvt t"ldi!t'!'nt phro,P L1 i4qtnPtnvthn\bPtoA Po hraít

) n. -.-7-J1 )

)) .-7-J1 .
4. YOU NAME IT:
pi& phrose A, B, C, ar D ftom dbove, and wite it at the Question" for phrases 1 and 3 below. Ihen write 2 different "Answers" for phrases 2 and 4
1 ó,ê<ti^n 2.Answer

I lmprovisation i ll ê aÍt oÍ Í,êe y ' r'dt ng voJr own

o lmprovisotion ne'oova vo.,prc,. t'erl-F ê'rol. toprdvvoJ, own
elody (Line A), to go with the accompaniÍnent (Line B).
F

5. INSTANT MEIODY

;I
 45

Yu .un rurt uou, oroqress throuqh the book on this page. Fill ln the Íals as instructed by your band diÍector.

27 28 1

26

)5

24

23 ESSENITAL
ELETNENÍS
22

21 SÍAR ACHTEVER
20
NÀliE

19

10
18

11
11

12
16
15 lq 13

I Page 2 3, The Basics 15. Page 22, EE Quiz, No. 1 17

2. Page 5, EE Quiz, No. 13 16. Page 23, Pedormance Spotlight
3. Page 6, EE Quiz, No. I9 17. Page 24, EE Quiz, No. 125
4. Page 7, EE Quiz, No.26 18. Page 26, EssentialCreativiry, No. 137
5. Page 8, EE Quiz, No.32 19- Page 28, No. 149
6. Page10,EEQuiz,No.45 20. Page 28, EE Quiz, No. 151
/. Page 12 13, PeÍformance Spotlight 21. Page 29, Peíormance Spotlight
8. Page 14, EE Quiz No.65 22. Page 31, EE Quiz, No. 164
9. Page 15, Essential Creativity, No. 72 23. Page 32, EE Quiz, No. 168
10. Page'17, EE Quiz, No.84 24. Page 33, No. 174
11. Page 7, Essential Creativity, No. 85
1 25. Page 35, EE Quiz, No. l81
'12. Page 19, EE Quiz, No.98 26. Page 36, Pedormance Spotlight
13. Page 20, EssentialCreativity, No. 104 27. Page 37,Pertot"r,ance Spotlight
14. Page 21, No. 109 28. Page 38, Pefformance Spotlight

lnUSTG
- AN ESSENÏTAL ELEIT'IENÏ OF LIFE
46

FINOER.ING GIIART Eb BARITONE SAXOPHONE

lnsllumenl Gare Reninderc

Before putting your instÍument back in its case
after playing, do the foilowing:
.
<lF -
Remove the reed, wipe offexcess moisture and
return it to the reed case.
. Remove the mouthpiece and wipe the inside
with a clean cloth. Once a week, wash the
mouthpiece with waÍm tap water. Dry
thoroughly.
. Loosen the neck screw and remove the neck.
Shake out excess moisture and dry the neck
with a neckcleaner.
. Use a bodyswab to drythe inside ofyour
inqÍunêrl. Or. dÍop ïhê weighr oÍ" Lhamois
oÍ cotton swab into the bell. Pull the swab
through thê body several times. RetLrrn the
instrument to its case,
' Your .a\ê i' oe iqned to hold only
'pectlic I
objects. lfyou tÍy to force anything else into
I
the case, it may damage your insttLlment. I
o = Opên
a = Pressed down
The most commonfingeÍin9 appears
fÍstwhen two fingeíings are shown.

tn itu ne nt.autte s! aí Ydndha

Cót potatian aí Ane .a, Ban d

^$
Bb 0o

CJ
a
aê
av
a
a
0r
a
!e
a
a
.J
F
-te
c 0o

I
a
!a
a
a
c* Db

O
0o
a
!o
a
a

# D 0o

o
a
!a
a
a
D* Eb 0o

o'
a
a
a
a
0o

o
a
a
-
a
o

F F 0o
a
a
a
o
êo
FH Gb 0o

3€
ee
aa
aa
0o

ó-a
0o

êO
a
a
a
o
 47

FINOER.INO GHAR E' BÀNIÍONE SAXOPIIONE

@
GT Ab 0o
a
a^
ó,+r
o
eo
F A 0r
a
a
O
O
eo
Ài Bt 0o 0o 0t
aoo
83-3-3
to o o
oo eo eo

7F'.:
a)
B 0o

o
o
a
O
L)
o F c 0o
ao 0o
O nó
ó - ió
o
eo
00
eo
e c# Db 0o

e
o
o
o
o
()

F
T
D lo
a
a
a
a
e'
Dfi E' lo
a
!a
o'
a F E lra
a
a
a
êO

H F lo
a
!
a
o
êo
TAr
Fi

ï-3€ oo
rG' l. l.
f,+-:21I 2
o-. 3 F
àt-
G lo
a
a
o
o
êo

ffi
GI Ab
le A
lo lo lo l'o
a
a^
a
o
aoo
nO O O
ós, o óó " - " 0
o Ë o to
óoo o o
eo eo eeo

cl

F
B c Db
lro G loaolo #*b+ lo
o
a O nO a
É o o ac) o
a)
o o 00 O
eo ê" c- eo

D D# Eb E F
+ O

F
al-
o t^^
3ó'
ó
o
eo
.J-
=
fobt"-
'gr
ó
O
eo =
a)
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48

r- REFERENGE TNDEX
DeÍinilions rps.r Slur '19 World lltlusic
Soli 29 AFRICAN
Accidental l6 50 o 23,38 . Kum Bah Yah 25
Alleqro 11 AMERICAN
Theme And variations '18
. Amerlcàn PatÍol 35
Arpeggio 28 Tie 14 . Amerlca The Beautiíul 36
'fime Signature
Bass Clef 5 (9as.teftnst.) 5 . AuÍa Lee12
Lines
Bar 3 TÍeble C ef 5 (lrcble clefinst.) . EzekielSawTheWheel l9
Beat 4 TÍio 25 . GoTel AuntRhodie 6
Blues 2l . MichaelRowThe Eoat Ashore 26
BÍedth 6
Gonposers . OnTop OfOld Smokey 2l
Chord^rlark
28 . SkipTo My Lou 10
JOHANN SEBASTIAN BACH
chromatic Notes 33 .
' ChoÍale (from Cantata 147) 18 Swing Low, Sweet Chariot 39
Chromdtic Scale 33 .
' ChoÍale 30 The Streêts OÍ L.redo 28
Common Time 26
.
Crescendo I I
. Íi4inuet 20 WayfaÍing StrangeÍ 35
. Minuet 31 . When The Saints Go À,,larching n
D.c. al Fine l8
LUDWIG VAN BEETHOVEN 13,27
Dlminuendo l'l . No.9) l3
Odê To Joy (fÍom sym. AUSTRALIAN

Theme From Symphony No.7 34

. Botany Bay 26
Dorted HafNotÉ l4 '
Dotted QuarteÍ Notê 22 JOHANNES BRAHMS AUSTR]AN
Double BaÍ
5 . Theme From sym. No. I 38 . AustÍian Wa lz 26
Duet 7 (Btos &Law WWs) CANAD AN
Dynamics 9 ANTONIN DVORAK
Eighth Note 10 . Theme From "New WoÍld Sym." 23 , O Canada 32
Rêst 3l
Eighth STEPHEN COLL NS FOSTER CAR BBEAN
Embouchure 2 (Bra$&Wws) . Camptown Races 14
. Banana Boat Song 18
Enhalmonics 33 . Oh, Susanna l0 CHINESE

EDVARD GRIEG
. 5i veí Moon Boat 34
lÍ&2nd Endings 16
. Gynt)
Morning (from Peer 15 ENGLISH
Fat 5 . London Bridge 8
FoÍt€(.1) I FRANZ IOSEF HAYDN
. . Fair 22
Glissando l9 Themê FÍom "SuÍprise symphony" 28 Scarborouqh
íirombonel . Sea Chanty 22
HalÍ Note 6 FRANZ LEHAR

HalÍ step 33
. WaltzTheme l7 FRENCH

Harmony I WOLFGANG Aí!1ADÉUS MOZART

. Au Claire De La Lune I
nterva 24 . A ÍMozart Melody 8
. Frère Jacques 12

KeySignature 7 . Eine K eine Nachtmusik 38 GERMAN

Largo 23 . Gêrman Folk Song 27

LedgeÍ Lines 3 JACQUES OFIENBACH ISRAELI
M€dsure 3 . BarcaÍolle 15
. Hatikva 30
Mezzo FoÍte (,1) 9 GtoAccHtNo RosslNl ITAL AN

' William Tel 10

. carnivalOfVenice 29
llluhlple Measure Rest 20
cAMILLE sAINT 5AÈN5 ]APANESE
Staff 3
l\,4usic . Egyptian Dance 34 . sakuÍa, SakuÍa 1ó
Natura Sign 5 I\,1EX CAN
FRANZ sCHUBERT
. March Miitairê 2l ' Chiapanecas l5
PhÍase 20
Piano (r )
]EAN SIBEL U5 ' La Bàmba 39
9
. Finlandia 26
. La CucaÍacha 36
Pick-Up Notes 9
SCOTïISH
QuaÍter Note 4 ]OHN PH LIP SOUSA
.
Ragtime l9 ' ElCapitan 32 Auld Lang Syne 22

Repeat Sign
s,26 . High School Cadets l'l TRADITIONAL HOLIDAY MUSIC

Rests 4,6,7,31 PETER ILLYICH TCHAIKOVSKY ' Jing e Bells 9

Round(canon) 12 . Capriccio ltalien 35

. JollyOld 5t. Nick l7
scêlê 28 . March 5 av 33
. My DÍeydl 9
Sharp 5 . lal2 Overtlre 37
. Up On A Housetop l7
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