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    Conductor - Foundations

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    oscar leonardo vanegas ramirez

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    © All Rights Reserved
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    Section 1: Warm-Ups mncertF Around the Band ‘Articulation Fxercses snes - Conductor Reference Pi cert F Descending 1&2 fone Ta ing Tone I Tong Tone fc ong Tone Id ‘ong Tone ‘ang Tone 3 ‘ong Tone i = Conductor Referenc t ond joa tor tion Section 2: Technique ‘Conductor Reference F Concert tural Minor sale & Tonle ‘Scale Patter Scale Pattern 2 erval St “Triad of Chior roncert fatural Minor farmonic Mine ‘Mefodic Minor fink Scale & Tonic & cade Pattern scale Pattern Tterval fads of the F STE ‘Chord Study T cord Study macert iajor ial MnO Table of Contents Tatiionle Minor ‘Melodic Minor fe & Tonic AMSGRO scale Pat Scale Patiem ale In Thirds Tterval “Triads of the Seale 10K T ci ancert ‘Major Seale ural Minor monic Mino? inrseale & Tonic scale Pattern 1 Scale Pattern ip Tid Tnterval Study ‘oF the ford Study T Chios Toncert fajor Scale ural Minor jelodie Minor ‘Mini-Seale & Tonle Kip ‘Concert jor Sate tural Minor farmonie Minor ink Seale & TORE AIDS 1 Thirds cert ajor Scale atufal Minor janonie Minor jodie Minor le & Tone: scale in Thr cert B ajar Scale fatural Minor flodie Minor ‘Mini-Séal ‘Concert jor Seale tual Minor monic Minor felodie Minor ‘Scale Pattern 1 atten 7 Talrds raerval Study jads oF the ord Study fajor Seale tural Minor Harmonie Minor I5BN 0.8497.70033 cum tse company an i ne Co 7, end ene hea, ite SA sn manger eo yao 10 yo macrumors ogee PB He eo rlics cpmnfed sate bso atl anion sooner beh ee nr Scale EToHI fe Pattern T Seale Pattern 2 raterval fads of the ord Study 1 jord Study 2 Toncert A atiral Minor farmonic Minor Melodie Minor Te Pattern T ie Pattern a Thirds faterval ‘oF the AP ‘Chara study T ord St Toneert fatural Minor Melodic Minor Scale Pattern jeVattern in Thi terval Triads of the jord Study T Chord Study ‘Snare & Auxiliary Techalgue For Individual instruments Only Section 3: Chorales and Tuning Exercises ynductor Reference Pages mncert By interval interval Tun Tnterval Tuning jord Tuning ord Tun Chorale 1 ‘Chester rt interval Tuning T interval Tun interval Tun cord Tani Chorale orale 4 feloay on Bad Bach 95 soncert Titerval Tuning T interval Tuning fncerval Tun ra Tuning orale orale 6 jorale Melody on America cert interval THA cord Tuning jord Tuniny ‘Ai mncert «minor Teterval Tuning T cord Tuning Thond Tuning Cues et interval Tan ord TUR ‘Chord Tuning Cues ‘oncert g miiOF interval Tuning T word Ta ord Tuning Cues ie Queene’ Aimar concert fatervl ‘Chord Tuning ord Tuning Cues ought Appendix, Fingering Chat v att ‘Bassoon - Appendix Pages Tngering Chart a Bassoon Fingering and Technique — at Clarinet = Ay Pages “Tageding Chart = cy Diagram Ss Clarinet - Appendix Fages i rt art to one Fingering Char ram ior Saxophone - Appendix Page ring Char att (orn - : ig Chart i farmonic Series frombone - Appendi Position Chart farmonie Series ronan C, - i Pages ingering Chart (Non Compensii Fingering Chart (Automatic CompensaUng) Euphonium TC. - Appendix Pages Fingering Chart Non Compensating) — ring Chart (Automatic Compensatn Harmonic Series ting Chart Harmonic Series ~ ire Appendix Pages [Rehearsal Fanner Scale and Chord Rela Foundations for Superior Performance Warm-Ups and Technique for Band Year Two Through High School “The purpose of this method book is to provide a comprehensive and sequential collection of warm-ups, scales, technical pattems, chord studles, tuning exercises, and chorales for concert band. Foundations for Supertor Performanceis designed to help structure the daily rehearsal and advance the Performance level of aoaansemble, ‘The primary goal isto offer a framework of exercises and routine drills that will faciitasé the masten) of ‘sential playing fundamentals. Different kil levels have been integrated into the book to mest the needs of the inexperienced player, and, at the same time, challenge the most advanced high school player. “This method book is organized into three large sections with an appendix. The three main sections are sequenced in a suggested rehearsal format. L. Warm-Ups Il Technique ‘I, Chorales and Tuning Exercises Appendix How to Use Foundations for Superior Performance ‘Many factors should be considezed in deciding how to use this method book: the band's ability evel instrumentation, time Ot year, and the amount of rehearsal time, ec. Once the band’s strengths and weaknesses have been assessed, prioritize musical goals. This method book will assist in this process in the following ways: 1, The exercises and musical studies in Foundations have built-in levels of difficulty that can be played athe same time. “Tis allows every student to work at his or her highest level at al times (optional parts/octave choices) 2. The layout of the book is such that the rehearsal can move quickly and efficiently from one. concept/skill area to cae ayn oe ting time. In addon, the book provides full-page scale and arpeggto sheets for specific drill routines, 43, The variety of exercises and drills constantly requlres students to apply general playing concepts 10 NeW settings. ‘This approach provides great freedom in choosing not only the most effective combination of exercises, but also the desired difficulty level(s) for the band’s particular situation. Using Foundations for Superior Performance in a Typical Rehearsal Setting ‘The exercises and studles may be used in the following manner, depending upon the banc!’s particular needs: Long Tones ‘exercises to focus on embouchure, ait, playing positions and sound ‘Warm-Up Sets exercises to promote flexibility and technique Technical Exercises scale- or chord-related exercises in various keys Major Scales & Arpeggios - Chromatic Scales focused drills on specific technique goals, Concert F Around the Band ~ Articulation Exercise listening drill - exercises in attack-sustain-release style concepts ‘Tuning Exercises ~ Chorales tuning intervals and chords ~ musical performance of chorales Band Literature for Performance Section 1: Warm-Ups - Conductor Reference Pages Concert F Around The Band Concert F Around The Bard is an exercise designed to promote listening skills by introducing various musical concepts and Pasting them from one instrument, one section, or one individial to another throughout the entire band. By using this ‘cchnique, students wil earn to listen better within their section and across the band. One advantage of this exercise ts that itis possible to hear the entire band play a concert F whole note in a short period of time, Ultimately, these skills should be applied to your band music. As difficult spots become apparent in performance music, solate and work on those problem areas by using the Around The Band technique. The concert F is used because it allows most instruments to play in their middle register, French Horns have been given optional octave choices for concert F (their C). Although most of these listening exercises are based on concert F they Should be adapted to the specific needs of the rehearsal, For example, if the band is working on a piece of music based around concert C, use concert C In the Around The Band exercise. Depending on the band’s instrumentation, size, and ability, divide the band into various sections or groups. These groupings May be changed throughout the year as needed. The suggested groupings below al begin with the lower sounding instruments ‘This allows the students to hear the lower octaves frst (listen down) in order to tune notes and chords and maintain overs balance. However, the exercise can altemately be used moving from higher pitched instruments to lower sounding instruments, Percussion may or may not be included in this exercise. Percussion may perform a roll on concert F (mallet instruments), of, create hay hom & concert E Humming concert F will help improve percussionists’ ear training and challenge them to Greate the same intensity, body of sound, and intonation asthe other sections. If percussion is included, it should probably be the final group. ‘The folowing are three possible groupings for the Concert F Around The Band exercise. In each example, the exercise begins Jhith ut, proceeds through various sections, and finishes with tut in order to reinforce the concept being drilled in a full band setting. Example 1 Groups Example 2 Groups Example 3 Groups + tuted tutti tutti + tuba tuba tuba + euphonium + trombone/euphonium + trombone/euphonium/ * trombone + French Horn/trumpet tenor saxophone + French Horn + low woodwinds + bassoon baritone + trumpet + alto saxophone saxophone/bass clarinet * low woodwinds + clarinet + French Hom/alto + alto saxophone * futefoboe saxophone + clarinet + mallets (opt) + teumpet + oboe tutti + clarinet + fore + flute/oboe * piccolo + mallets (opt.) + mallets (opt,) tutti + tuti wazF ection I: Warm-Ups - Conductor Reference Pages —— ee —————————————_ eer Concert F Around The Band (cont) ‘The Student Page 5 “The istening dull Concert F Around The Baris a dictated exercise. The student page from the trumpet book's provided below as an example. Students should complete the following steps before performing the exercise as t's further explained on page 6 of the conductor score. Ask students to: 1, ‘Transpose (or copy) the concert F in measure one into measure two. 2, Fillin the boxes with the assigned instrument groups. 3, Discuss the musical concepts at the bottom of the page. wert F Around __| resent artompanere marin an listening drill Concert F Around The Band, ‘nce the instruments have been placed into groups, fwrite the name of the instrument(s) in the appropriate box below (every box may os ach instrament will play concert Fn thelr middle register. Asa trumpeter, rath to auspose the concert Fin measure one to your instrument's pitch in measure 0. wit = ee ‘Your director will divide the band into various Betions or groups forthe Fra coon | Flake bees coors | 2 ihe ewmos [tre | a gem? [SHS | ‘is metho of roping a ema [Bbw ve wed pce ate masa 7 concep aes ses yng iii Mees [FBO] enous and cho maybe dled mn hitmanner fa natch the peimary pars ofeach aot attack sustain-teleas) « work fora smooth shape to cach note (no bumps inthe sound) + match intonation, intensity, volume, tone qu + tisten from the Bottom groups and balance low mle [As you play the exercise, keep the following concepts in mind: | off tenuto notes full vale) without creating "holes" between the attacks ry, and Une “ody of sound” he aware ofthe dtterent colors (timbres) ofthe instrument groups and thelr location inthe room, w3oF 6 __ Section 1: Warm-Ups - Conductor Reference Pages Concert F Around The Band (cont) Practicing the Exercise 1. Establish a medium tempo ( J= g0) using a metronome so the focus is on listening rather than watching. 2 Ask students to play at a mezzo forte level. Remind students to play with a full sound that is not weak or forced. 3. Once the tempo and dynamic level have been established, have the band play a concert F whole note (tutti), and then ass the note around the band following the example groups on page 4 of the conductor score. 4. Afterall groups have played, finish with the entire band playing the note together. Evaluating the Exercise ‘sample of whole note Avound The Band with Example} Groupe ‘The most important step in this istening process is to evaluate the band's performance of the exercise. Ask students the following questions: 1. Did we all play the correct note, and did our intonation match? 2. Were all the concert Fs played with a 00d, characteristic tone quality? 3. Did each group (or student) sustain the note for the correct length? Were there spaces or holes between the groups? 4. Did we attack, sustain, and release the notes the same? 4) Did the note respond immediately on the attack (instant sound)? b) Was the note sustained smoothly with no change in volume and intensity? ©) Were the notes released together, ‘without any change in the sound? 5S. Did we maintain balance within the sections? After these basle concepts are mastered, and all students are aware ofthe differences between correct and incorect sound Production, move on to higher level concepts. 6. Did the intensity of each note match? 7. Did we all have the same body of sound on each note? 8. Did we produce a resonant sound free of tension? 4) Were out bodies relaxed and still during the note? ») Did the air go through our instruments smoothly? wa2F Section 1: Warm-Ups - Conductor Reference Pages__7 Articulation Exercises “Articulations: A Study in Styles is an explanation and graphic representation of the various note lengths employed in the articulation exercise at the bottom of the trumpet student page reproduced below. This exercise (or portions of the exercise) can be drilled using the Around The Band technique. “The articulation exercise is designed to give students the opportunity to match attacks and releases in different styles and thythms. Another goal ofthis exercise isto establish a concise, consistent working vocebulary of style and articulation that ‘you can use with the students. “Articulation Exercise on Concert F should first be played in a medium to slow tempo and gradually increase as the students ‘become more proficient. Optional endings may also be used to allow students to master easier material before advancing to the more demanding rhythms and articulations. This exercise may also be practiced without rests to challenge students to change articulations/styles in a continuous manner, Once these articulation concepts have been established, transfer and relate these techniques to your band literature. In playing Articulation Exercise on [~ : 2 Concert F, ask students to: Articulation Exercises Articulations: A Study i$). —_—<_<$< $ <$ $< <<< <—— — — ——— ‘+ Tongue each note (concert F) in the beahabale same place on the reed or mouth. : feucnneed tt a or eae Sl Comte Pesrinenct note. buthwendetthenetet tapered, and detached (afl vue + Maintain a consistent air stream ‘within each style, and refrain from == S55 breathing between lifted notes. A PDE aA a FE a rigwnootes ia connected aye, gnc in ited and shot ye ‘* Make sure the embouchure does not Sea move during articulations. $ = = i oe ee Se « Strive to maintain a consistent and ighth-not tiple in connected syle. Fighth note tapes in a detache tye (bounce). characteristic tone quality on every = note, not allowing the varying at- ticulations or rhythms to affect the sound, wa2F Section 1: Warm-Ups - Conductor Reference Pages The Next Level - More with the Around The Band Technique Around The Band can be used to pass any number of different concepts down the section, from student to student. This technique not only provides you with the opportunity to hear and evaluate ail students, but reinforces the importance of each student in the band performing at their best. Combining Concert F, Articulation, and Around The Band Techniques ‘The following example is one way to combine these three exercises: ‘Matching musical concepts on concert F whole notes and tenuto eghthr notes (umpet scion) Student 1 Student 2 Seudemt 3 ‘There are endless possibilities in creating exercises/drills to reinforce the technique of matching style, intonation, and tone quality across the band. These exercises can be tailored to meet your specific musical needs in rehearsal. Applying the Technique to Band Literature ‘The following example is one way to use the Around The Band technique to drill a melodic line: When the melody is reduced to one note, 1m this case concert f, students are ableto. The original melody... concentrate on matching rhythm, articulation, style, and tone quality across a section or the entire band, The following musical concepts can be practiced with the Around The Band technique: * Articulations = Rhythms * Various styles (legato, fenuto, lifted style, staccato, ete.) * Dynamics + Pitch (Intonation) * Tone qualities ‘Intervals and chords ‘+ Balance within the section and across the band waar Section 1: Warm-Ups - Conductor Reference Pages _9 Long Tones Most wind players would agree that starting with long tones allows players to concentrate on maintaining a properly set, functional embouchure and making efficient use of ais. The long tones in this book will focus on improving embouchure strength, focus of sound, and air flow. [As with any skill-building exercise, be sure to prioritize musical objectives, and concentrate on only one or two concepts at aa time so that students will not be overwhelmed. In playing these long tone exercises, remind students to have a clear idea of the sound they would like to produce before they release air into their instruments. Ask students to also work on the following aspects of their playing technique: + parts of the note (attack-sustain-release) « crisp fingerings and slide positions «full, vibrant tone (not pinched or airy) ‘* smooth connections from note to note * correct intonation * balance from note to note as intervals increase in size + correct body and hand position Concert F Descending Concert F Descending sa listening exercise designed to help students match tone qualities as the scale descends. By starting in the middle register and descending to the lower register, students are better able to focus on their sound, pitch, and parts of the note (attack-sustain-release). Clarinet ample Rehearsal Suggestions: ‘Have stuclents match tone qualities from note to note, * Have students think "up" as the notes descend for a more focused low register. + Teach students to compensate for the length of their horns as the scale descends. ‘+ Have students slur the notes after they are able to make smooth note- tomnote connections on Concert F Descending 2. + Challenge French Horns by having them play Concert F Descending 2 down an octave. + Consider having the mallet percussion tacet this exercise so that the wind players can concentrate on attack, sustain, release, and other tonal concepts. war 10__ Section 1: Warm-Ups - Conductor Reference Pages Long Tones (cont.) Long Tone 1 Long Tone 1 is a long tone exercise divided into four sections: a, b, ¢, and d. These long tone exercises may be played as four separate Iong tones or one continuous long tone. Younger players may find these long tones to be an effective range-building exercise. Tampa ample : Ta ep — 7 . 5 = # oe ‘ 7 Rehearsal Suggestions: *+ Have students listen for unison releases on count 3, ‘+ Have French Horns play optional octaves as necessary. + Have the woodwinds play while the brass buzz on their mouthpieces simultaneously or "follow the leader" every two * Ask vibrato instruments to alternate days with and without vibrato. ~ + Have students vary rhythms on each pitch (subdivide into quarter notes, eighth notes, etc.). * Have trombones use the glissando technique to create better pitch accuracy and to make efficient use of alr. * Assign percussion parts: mallets, and snare patterns 1 and 2 (can be played on practice pads). war ea Section 1: Warm-Ups - Conductor Reference Pages 11 Long Tones (cont. Long Tone 2 ‘This Iong tone exercise focuses on the interval of a half step. The melodic pattern descends a half step every two measures, ‘eventually covering an octave. The length of this long tone allows younger players to build their endurance in a comfortable range. ¢ Hiate ample Rehearsal Suggestions: + Have students listen for unison releases on count 4. French Horns play optional octaves as necessary. ‘+ Have the woodwinds play while the brass buzz on their mouthpieces. s : z é > a i + Ascvibratointrumentstoatematedayswithandwithy | ga : : . out vibrato. = Sy = ie 9 ee, « Stress enharmonie spellings. 2 ‘= Remind students to make precise note changes during 2 slurs. + Make sure woodwinds use standard and appropriate chromatic fingerings. Clarinet Example: measure 1 use Ist finger Fe, and in measure 3 use side for Gh ‘= Assign percusssion parts: mallets, and snare patterns 1 and 2 (can be played on practice pads). ae 12 Section 1; Warm-Ups - Conductor Reference Pages Long Tones (cont) Long Tone 3 This advanced long tone exercise asks students to play increasingly large intervals, expanding from concert F, from @ minor 2nd to a perfect Sth. The second half ofthis exercise (Long Tone 3b) expands intervals outward simultaneously, in contrary ‘motion with another instrument or section. This exercise concludes with the interval of an augmented 4th, which creates concert Bs at the octave, Students will find this, long tone exercise helps increase their proficiency in tuning intervals. Flute Bample Ba teresa minor ant mera ef amor nd Interv of min Sb rere of mfr Bb trae ef mine nt Inco jor 2 Inert afa mre bd. eras mae Sr neta ape mara ef a agente th J bd Suggestions for divisi on Long Tone 3b: 1, Stems up: woodwinds, Stems down: brass. 2. Stems up: H, Ob, Cl, Al Sx, Tpt, FH. Stems down: Bsn, Bass Cl, “Ten & Bari Sx, low brass. 3. Stems down: conical brass (FH, Euph, Tuba), Stems up: all others. 4. When working with one section or small, mixed groups, «Have students listen for unison releases on count 3. have Ist parts play stems up and 2nd parts play stems down, Rehearsal Suggestio: * Have the woodwinds play while the brass buzz on their mouthpieces + Ask vibrato instruments to alternate days with and without vibrato. + Proceed to Long Tone 3b only after students can play 3a very precisely (clear intervals, intonation, ete.). Then, divide the band into sections or within sections for divisi. Each combination of instruments creates a different set of tuning and balancing challenges * Assign percussion parts: two and four mallet technique options, and snare drum exercise with check pattern first. wa2F Section 1: Warm-Ups - Conductor Reference Pages _13 Percussion - Snare and Mallet Exercises for Long Tones ‘The following instructions for playing the percussion Long Tones exercises provide four-measure excerpts from each exercise. [Ask percussion students to use the following instructions when performing Long Tones: Concert F Descending (Snare Drum tacet) ‘Two Malle Pattern: This two mallet, single stroke exercise works on full wrist rebound strokes. Stay as relaxed as possible, and pull the mallet up to shoulder level on each stroke, Four Mallet Pattern: ‘This exercise works the outside mallets first, then the inside mallets. Turn the wrist, and keep extra motion to a minimum. ‘Concert F Descending 1 Concent F Descending 2 Long Tone 1a ‘Two Mallet Pattern: Work for evenness in rolls, not speed. Connect each roll to the next, especially as the interval distance between notes increases. Snare Patterns 1 and 2: These stick control exercises should be played with a relaxed wrist motion. At softer dynamic levels, strive for evenness of sound from one hand to the next. cowie w32F 14 Section 1: Warm-Ups - Conductor Reference Pages Percussion - Snare and Mallet Exercises for Long Tones (cont) Long Tone Ib ‘Two Mallet Pattern: Work for evenness in rolls, not speed. Connect each roll to the next, especially between large intervals. Snare Patterns 1 and 2: Play these isolated double stroke exercises as two wrist strokes, not as bounces. On Pattern 2, use a small amount of back finger on the triple strokes. Long Tone 1c Four Mallet Pattern: This single, independent stroke exercise works the outsice mallets first, then the inside mallets. Turn the ‘wrist, and keep extra motion to a minimum, Snare Patterns 1 and 2; Keep low stick heights and play double strokes, not bounces. On Pattern 2, the accents should be ~ played as rebound strokes. Think of the accents as an increase in volume, not as a heavy downstroke. 2 ale pe » Long Tone 1d Four Mallet Pattern: This single, independent stroke exercise works the outside mallets first, then the inside mallets. Turn the wrist, and keep extra motion to a minimum. ‘Snare Patterns 1 and 2: Work for evenness of sound in these sticking patterns. be fot wae Section 1: Warm-Ups - Conductor Reference Pages _15 Percussion-Snare and Mallet Exercises for Long Tones (cont.) Long Tone 2 ‘Two or Four Mallet Pattern: Work for evenness on these alternating independent strokes. Relax the wrist, and avoid “pounding” the bars Snare Patterns 1 and 2: In these eighth- and sixteenth-note timing patterns, follow the tickings exactly, These exercises help to develop flow-sticking patterns. ait Long Tone 3a and b ‘Two or Four Mallet Pattern: Work for evenness on these alternating independent strokes. Relax the wrist, and avoid "poundinj the bars. When playing this exercise with four mallets, the elbows will turn in or out slightly. Try to avoid turning the upper body. Snare Combination Pattern: The motion of the stick during the elghth-note measures should continue through the sixteenth- note measures. Tong fone 3A, Tong Tone 3 w32F 46__Long Tones Concert F Descending 1 Winds p.4 Mallets p. 44 Snare (tacet) ase Ctr eh owls wa2F Long Tones 17 Concert F Descending 1 (cont) Winds p Mallets p44 Snare (tacet) Ter i wa2F 18 __Long Tones Concert F Descending 2 od Mallets p. 44 Snare (tacet) apt war Long Tones _19 Winds p. 4 Mallets p. 48 Snare p. 48 Ato sax Trompe, enh om w32F 20__Long Tones Long Tone 1A (cont) Winds p.4 Mallets p48 Snare p48 z ' 2 o . o L ac - asset Ase . om < apt ~ os We SPREE ECE DE De DPE EEE EE PRT PEEP EE PEETURT EE DPT PFET PEST PEPE EEST PPETPEETEE ET Long Tones 21 Se Long Tone 1A (cont) - Mallets p48 Snare p. 48 arse igh ou ETT TET ET RTP ETTOUPERRTETE PPTOERE ER Wang 22 _Long Tones ee Long Tone 1B Winds p.4 Mallets p48 Snare p. 49 Pea x apron Long Tones 23 ———————— Long Tone 1B (cont.) Winds p. Mallets p48 2 Snare p. 49 ™ SS eR RE TEE TEEPE PE ETE UT PER ERE TE sk 24 Long Tone 1B (cont.) Ais ams wa2F Long Tones a winds p.4 Mallets p. 4B Snare p. 49 Long Tones 25 ——————————— Long Tone 1C oo Mallets p. 4 Snare p.50 At Claret ae Sar apho it W32F 26 _Long Tones eo Se Long Tone 1C (cont) eo Mallets p. 40 Snare p. 50 oor Long Tones _27 ee Long Tone 1D aap) Mallets p48 Snare p. $1 uate 28 _Long Tones a en es Long Tone 1D (cont) winds p 4 Mallets p. 48 Snare p. 51 the a 1h Pa ome wale Long Tones. 29 Long Tone 1D (cont) Winds p. 4 Mallets p. 48 Snare p. 51 paso oor ons 30 Long Tones Long Tone 2 ong, ‘Winds p. 5 Mallets p. SA Snare p. 52 — 8 et ee urine Te Sax upttam ates wa2F Long Tones 31 Long Tone 2 (cont.) Winds p. 5 Mallets p. A mate p. $2 £ : 2 2 2 om ons wa2F 32__Long Tones Long Tone 2 (cont) winds p 5 alles p. SA Snare p52 me Ware FERRE RURE Cee U RERERERT TRE TAT MTRTREE E TRLE WE AURERE TREET TEE PUP SEE TCE ATE Long Tones 33 Long Tone 2 (cont) Winds p. § Mallets p. 5A Snare p. 52 ah mar war 34__Long Tones Long Tone 2 (cont.) Winds p. 5 Mallets p. 54 ‘Snare p. 52 aise es wa2F Long Tones _35 Long Tone 3A Winds ps Mallets p. 58 Snare p53 Int in 2 ier of air nt war 36__Long Tones Long Tone 3A (cont, Winds p. 5 Mallets p. SB Snare p. 2 mera nr nt b act ats tm w32F Long Tones _37 ee Long Tone 3A (cont) windsp. § Mallets p. 5B Smare p. 53 Intro jo Se meres of pr aasct ph waa 38 Long Tones Long Tone 3A (cont) Winds p. 5 Mallets p.5B Snare p. 53 mer of agent eh gh rae ws2F Long Tones _ 39 ee Long Tone 3A (cont) winds p.5 Mallets p. 5B snare p. $3 tes pee ae tt w32F 40 _Long Tones Long Tone 3B Ae cle phen wa2F must ofa miner ns murat of mar at Winds p. § Mallets p. 3B Snare p. $3 Long Tones 41 — Long Tone 3B (cont) Winds p. 5 Mallets p58 snare p. 3 erat et eontar meb : 2 4 To mm war 42 Long Tones Long Tone 3B (cont) aise be waz rural of pre te ner on eget Winds p. 5 Mallets p. 5B Snare p53 Section 1: Warm-Ups - Conductor Reference Pages _43 Warm-Up Sets ‘Warm-Up Sets are combinations of lip slurs (brass), technical exercises (woodwinds), harmonics (flute), register studies (clarinets), octave slurs (double reeds and saxophone), and mallet and snare patterns. There are four warm-up sets, each with five options ‘that are designed to warm up the band all together. ‘The options get progressively more difficult. However, students of lesser experience can play the easier options while the more experienced players can move to the more difficult options. Mallet and snare warm-ups have been integrated into each ‘option. The wacmup sets will make it possible to: + Watm up each instrument in the best possible manner. + Vary the day-to-day warm-up routine using the 20 different options available, + Listen to all students atthe same time. + Provide material fr all levels of experience ‘ Reach different warm-up goals simultaneously, Although these warm-up sets are organized to have all sections playing the same Option, the Option assignments can be rearranged to fit the band’s particular situation. For example, the band may be divided so that woodwinds play Option 2, brass play Option 4, percussion play Option 1. ‘The following outline shows the content of each warm-up set Option 1 * Woodwinds, brass, and mallets play unison lip slur, + Snare drum plays an easy pattern. Option 2 ‘Flutes play “lip slur” on harmonics. ‘Clarinets play “lip slur” as a register study. ‘+ Saxophones and double reeds play octave sluts, ‘Brass continue the same lip slur from Option 1. ‘Snare and mallets play a more advanced pattern. Option 3 ‘* Woodwinds and mallets play a technical pattern, ‘* Brass continue the same lip slur from Options 1 and 2, ‘* Snare drum moves to a more advanced pattern. Option 4 ‘* Woodwinds continue the same technical pattem ftom Option 3, « Brass play a more advanced lip slur in range and flexibility. ‘ Snare and mallets progress to a more advanced pattern. Option 5 '* Woodwinds continue the same technical pattern from Options 3 and 4. ‘Brass move to a more advanced lip slur in range and flexibility. + Snare and mallets progress to the most advanced pattern, waar 44 Section Warm-Up Sets (cont, Warm-Ups - Conductor Reference Pages Warm-Up Set 1 ‘The following pages provide information on the content and layout of Warm-Up Set 1. All of the other warm-up sets follow the same general construction, although the sets and their exercises pose more advanced challenges. ‘The example scores for Warm-Up Set 1 are shown in concert pitch. Note that the full scores for each set and option are grouped by exercise, not necessarily in score order. During rehearsal, as options are called out, be aware that the exercises change in the following manner: ‘Woodwinds Brass Option 1 unison lip slur with brass Options basic lip sur 12,83 7 rarmonie study (te) Option 2 register study (clainet, bass clarinet) Option 4<— more advanced lip stur octave slur study (oboe, bassoon, o> in range and flexibility saxophones) Option 5 most advanced lip slur Options technical pattern 34,85 Percussion Mallet and snare exercises change with every option. Information concerning the instrument-specific skills involved in playing the varlous options of each set begin ‘on page 47, The topics covered are flute harmonics, clarinet register studies, double reed and saxophone octave studies, and brass ip slurs. Mallet and snare exercises are detailed beginning on page 50. Example Score fourmeasure excerpt Concer piahy Warm-Up Set 1, Option 1 + Woodwinds and brass play the basic lip slur + Woodwinds and mallets play in unison, + Woodwinds and brass have two-measure phrases. + French Horns have B-flat hom fingerings to allow for a true lip slur. Bee = oF aT oe a | | | waar ERERRERRERER RERRRRR HREAERR Section 1: Warm-Ups - Conductor Reference Pages __45 Warm-Up Sets (cont.) Warm-Up Set 1, Option 2 + Each instrument has an instrument- specific warm-up: Flutes: harmontes Clarinets: register study Double reeds/saxophon octave slur Brass: lip slur Percussion: mallet: intervals snare: patterns work on accent/tap. * Woodwinds and brass have two-measure phrases, # Less advanced woodwind players may remain on Option 1 Warm-Up Set 1, Option 3 + Woodwinds work on technique: chromatic exercises (Sets 1-2) diatonic exercises (Sets 3-4). ++ Brass continue to play basic lip slur. * Woodwinds and brass have two-measure phrases but may progress to four-measure phrases depending on the tempo. or ‘Woodwinds may stagger breathing to create one continuous phrase. * Less advanced woodwind players may remain on Option 1. ranple Seong fourmeasure excerpt (concer pitch) ss ove i [Example Score, foursmeasure except (concert pitch) : » be wot at iy if W32F 46 __ Section Warm-Ups - Conductor Reference Pages Warm-Up Sets (cont, Warm-Up Set 1, Option 4 Example Score lourmeasure except (concen: pitch) * Woodwinds continue to work on ; technique (two- or four-measure a 4 ze 7 : phrasing or staggered breathing) + Brass play a more advanced lip slur which requires greater range and/ or flexibility. + Less advanced woodwind and brass players may remain on earlier options, paca ots iaaag : i Warm-Up Set 1, Option 5 TBrample Score, fourmeasure excerpt (concent pitch * Woodwinds continue to work on technique (same phrasing). * Brass play an advanced lip slur which requires even more range and/or flexibility. + Less advanced woodwind and brass players may remain on earlier options, s it wa2F ‘ection 1: Warm-Ups - Conductor Reference Pages 47 Instrument-Specific Skills in the Warm-Up Sets produces tls harmonic piteh o/ maintain fingering for finger this note yp i “true pitch" @ Flute Harmonics, four-measure excerpt (all sets, Option 2) Ask flutes to use the following tips when playing harmonics: «To play the harmonic, notated with a circle, finger the diamond shaped note, then move the lips and adjust air speed to create the harmonic, + Avoid tightening, stretching, or rolling in the lips. * When moving from a lower note (non-harmonic) to a higher note (hat monic), move lips forward across the blow hole and away from the teeth. + Do not move the chin or close the jaw when playing the higher note. * Strive to keep the center of the embouchure soft and the teeth apart. + Keep the air flowing and think "ooh." + Do not overbiow. + Practice these harmonics without vibrato. o are ere n pple pln = Set I starts on a harmonic. Count 2 harmonic in Set 2 prepares the embouchure for the highest note in the phrase. option? Harmonics in Set 3 work on flexibility and embouchure preparation for the 3rd octave. option 2 Set 4 combines a fingering change with a harmonic in count 4, and works on embouchure preparation for the 3rd octave, Clarinet/Bass Clarinet Register Studies, four-measure excerpt (alll sets, Option 2) Each option increases in flexibility and range. ‘Ask clarinets to use the following tips when playing these register studies: + When moving from note to note, do not ‘move the embouchure. + Keep the mouthpiece set securely against the upper teeth; left hand thumb should push slightly outward. * Maintain an open and relaxed throat position in each register. + Play with a full and even tone throughout every register. + Keep the finger and hand motion to a minimum + When playing higher notes, think of using a narrower air stream. 48 Section 1: Warm-Ups - Conductor Reference Pages Instrument-Specific Skills in the Warm-Up Sets (cont.) Double Reed/Saxophone Octave Slur Studies, four-measure excerpt (all sets, Option 2) Ask double reeds/saxophones to use the following tips when playing slurs: Alto Saxophone example : * When moving rom notetonote, donot sa, move the embouchure. . * Maintain an open and relaxed throat position in both octaves. + Play with a full and even tone in both 2 octaves. ee + Do not clamp or pinch the reed; keep the back teeth apart. ‘+ Keep the finger and hand motion to a Oboe - halfshole technique Bassoon - half-hole and flick technique Saxophones - do not raise thumb to manipulate the octave key ope + Practice with and without vibrato. Woodwind Technical Patterns, four-measure excerpt (all sets, Options 3, 4, & 5) The technical patterns are unison studies for every woodwind instrument, Once woodwinds master these melodic and scale patterns, they can vary the articulation. The following eight articulation patterns are notated in all woodwind books just above each technical study. Aaa osons TD TB TDA TTAB TB DN TD TT Ask woodwinds to use the following tips - ‘when playing these technical patterns: ‘Ghavinet example ‘* Work for an even and full sound on cach note, matching the tone quality 1 of the upbeat note to that of the osimss = downbeat note. ‘+ Articulate with the same strength for each note. ‘+ Balance volume of sound as scale ascends and descends. ‘+ Use appropriate chromatic fingerings. * Maintain the proper shape of the hands to ensure evenness of ont technique * Vary articulation pattems once the. exercises are mastered. ove + Practice in two- or four-measure phrases. or Stagger breathing to create one ‘continuous phrase. olths wa2r Instrument-Specific Skills in the Warm-Up Sets (cont) Brass Lip Slurs, four-measure excerpts (all sets, Options 1-5) Each option in the brass increases in difficulty in flexibility and range. Set 4 begins with the 7th valve and slide combinations, allowing students to build range in a progressive manner. Ask the brass to use the following tips when playing lip slurs: ‘* Play with a full sound thoughout all registers. * Play slurs as smoothly as possible. + When moving from note to note, keep the embouchure as still as possible. «= Strive for a relaxed sound at all times. ‘« Maintain a relaxed playing position. # Make sure the bottom note of each slur Is played with a full sound, so that you can "bridge’ to the upper notes with air. + Keep the center of the lips soft, not pinched. ‘Use full inhalations and exhalations for each lip slur (two measure phrases). + Practice buzzing on the mouthpiece. * Maintain a steady tempo/pulse throughout each lip slur, giving full time and full tone to each note. * Stay on the easier options if you can ‘not maintain characteristic sound and/ or proper control when playing the more advanced slurs. Section 1: Warm-Ups - Conductor Reference Pages opts oti ors opts ones opto 3 ort fiat ors Trumpet cramples 49 23 50. Section 1: Warm-Ups - Conductor Reference Pages Percussion - Mallet-Specific Skills in the Warm-Up Sets ‘The following instructions for playing mallet Warm-Up Sets provide four-measure excerpts from Warm-Up Sets 1-4. Ask percussion students to use the following tips when playing the mallet Warm-Up Sets: Warm. oft ons ois Up Set 1, all Options Up Set 2, all Options In Option 1, all notes are rolled. Use soft mallets, and strive to connect rolls. In Option 2, try to keep arm motion to a minimum. On large intervals, wrists should stay relaxed and incorporate a side-to-side motion, In Option 3, use wrist strokes. Mallets play in unison with woodwinds. Chromatic scales in octaves appear in Option 4. Use wrist strokes. In Option 5, keep the hands low to the keyboard and avoid using arm strokes. The motion should be made with a relaxed wrist stroke. In Option 1, all notes are rolled. Use soft mallets, and strive to connect rolls. In Option 2, use four-mallet technique, rolling the outside mallet rather than. extending the back fingers. Keep the thumb on the stick. In Option 3, be sure to alternate your sticking. In Option 4, the double stickings should be played as relaxed wrist strokes, not as bounces. In Option 5, use wrist strokes and either ‘two or four mallet technique. Section 1: Warm-Ups - Conductor Reference Pages _51 Percussion - Mallet-Specific Skills in the Warm-Up Sets (cont) Warm-Up Set 3, all Options oi on ones ofa Warm-Up Set 4, all Options Basu os In Option 1, use soft mallets, and strive to connect rolls. Option 2 is a two or four mallet technique interval study. In Option 1, use soft mallets, and strive to connect rolls. In Option 2, use two mallet technique with sixteenth-note interval patterns. In Option 3, use two mallet technique. Mallets play unison mini-scales with, woodwinds. In Option 4, work towards using an extreme wrist turn, Strive for an even. sound from each mallet. Option 5 is the same exercise as in Option 4, except both hands play together. In Option 3, the melody hand should be brought out. Strive for evenness of the sixteenth notes In Option 4, play on the edge of the accidental bars and minimize the elbow motion by keeping the wrist relaxed. In Option S, use wrist strokes with intervals of 4ths and Sths. w32k 52___ Section 1: Warm-Ups - Conductor Reference Page Percussion ~ Snare-Specific Skills in the Warm-Up Sets ‘The following instructions for playing snare Warm-Up Sets provide four-measure excerpts from Warm-Up Sets 1-4, Ask percussion students to use the following tips when playing the snare Warm-Up Sets: Warm-Up Set 1, all Options ‘These exercises work on accent/tap heights for rudimental snare drum, Strive to keep the unaccented notes as soft as possible. Squeeze the stick slightly on each downstroke, then immediately relax on the innerbeats. Se Warm-Up Set 2, all Options ‘These exercises develop understanding of rol-base as it applies to rudimental roll studies. Sticking should be strictly observed. Strive to keep bounces relaxed and fluid. Alternate between ‘open" bounces (doubles) and "closed bounces (buzzes). <2, {oe tba fd, waar Section 1: Warm-Ups - Conductor Reference Pages _53 Percussion - Snare-Specific Skills in the Warm-Up Sets (cont) Warm-Up Set 3, all Options ‘These exercises work on the fundamentals of flam technique. Grace note height should never rise moze than an inch above the drum head, Accent heights should be relative to the speed of the exercise. oo, (RES Warm-Up Set 4, all Options ‘These exercises work on paradiddle rudiments. Play innerbeais as softly as possible with a relaxed wrist. As the tempo increases, double strokes become double bounces (as in Option 5). Accent volume is relative to the speed of the exercise; ‘when tempos are slower, accents should be stronger. wa a Ween pe Warm-Up Set 1, Option 1 Winds p.6 Mallets p. 64 Snare p. 54 ‘uproa svar W32F Warm-Up Sets _55 —_— Oe Warm-Up Set 1, Option 1 (cont,) oy) Mallets p. 64 Smare p. $4 as war 56 Warm-Up Sets Warm-Up Set 1, Option 2 Winds p.6 Mallets p. 64 Snare p. $4 ‘phen ae Warm-Up Set 1, Option 2 cont.) Winds p. 6 sp. Mallets p. 64 Snare p. $4 waar 58__ Warm-Up Sets Warm-Up Set 1, Option 3 ‘Woodwind Articulation Patterns: taint ates wa2F 5, Winds p.6 Mallets p. 6A Snare p. $4 Warm. Sets 59 Warm-Up Set 1, Option 3 (cont) Winds p. 6 Mallets p. 64 Snare p. act ase par fn 60 _Warm-Up Sets Warm-Up Set 1, Option 3 (cont) co Mallets p64 snare p. 54 sats = = ~ 1 - nh : w32F = Warm-Up Set 1, Option 4 — nda rit Peta same igpanionaningani gn gn mannan oD el Sea 8 1 2 be 5 4 ephonm wae 62___ Warm-Up Sets Warm-Up Set 1, Option 4 (cont, Winds p.6 Mallets p68 Snare p. $5 atc tH w32F Warm-Up Sets 63 Warm-Up Set 1, Option 4 (cont.) Winds p.6 Mallets p. 68 Snare g. $5 64 Warm-Up Sets Warm-Up Set 1, Option 5 winds 6 Woodivind Articulation Patterns — maqam splmgnma Snare p55 aphorios Warm-Up Sets 65 Warm-Up Set 1, Option 5 (cont) Winds p.6 Mallets p. 68 Snare p. 55 ™ ip 66 _ Warm-Up Sets Warm-Up Set 1, Option 5 (cont) ee Mallets p. 68 Soare p38 waar Warm-Up Sets 67 Warm-Up Set 2, Option 1 winds p.7 Mallets p. 74 Snare p. 56 apheiam war 68 ___ Warm-Up Sets Warm-Up Set 2, Option 1 ont) ‘Winds p.7 Maetsp. 74 Snare p. $6 act wa2F Warm-Up Sets 69 Warm-Up Set 2, Option 1 (cont) np Mallets p74 Sate p56 Ter waar 70 Warm- Up Sets Warm-Up Set 2, Option 2 Winds p.7 Mallets p.74 Snare p36 age claret rump apna w32F Warm-Up Sets 71 Warm-Up Set 2, Option 2 (cont. os Mallets p. 74 Snare p. 56 aw ct Ns sans ph war 72 Warm-Up Sets Warm-Up Set 2, Option 2 (cont) re Mallets p. 74 Snare p. 56 a aise evr Warm-Up Sets__73 Warm-Up Set 2, Option 3 — Woodwind Articulation Patteras: Mallets 9.74 DIP TAD ND Gn TBAB AT TBAT. soaren ss 1b 2 be 2 ‘ Chara At Caro wa Warm-Up Set 2, Option 3 (cont, Winds p.7 dsp. Mallets p. 74 Snare p. 56 ea w32F Warm-Up Sets 75 Warm-Up Set 2, Option 3 (cont) Winds p.7 Mates p. 7A sare p56 arc te ep war 76 __Warm-Up Sets Warns-Up Set 2, Option 4 — Woodwind Articulation Patterns: ee Dia Apln ging Ay TRIN ae apron Warm: Sets 77 Warm-Up Set 2, Option 4 (cont) winds p.7 Mallets p. 78 Snare. 87 asst Tear bart PH ip wr 78 Warm-Up Sets Warm-Up Set 2, Option 4 (cont, asst ovr wa2F ‘Winds p.7, Maersp. 7B Snare p. 57 Warm-Up Sets __79 Warm-Up Set 2, Option 5 — ee ee lgpanlgnanionaninn gmap aD DB, Soar. 57 the i a 4 war 80___Warm-Up Sets Warm-Up Set 2, Option 5 (cont, Winds p.7 Mallets p. 78 Snare p.57 ™ waar Warm-Up Sets 81 Warm-Up Set 2, Option S (cont) Winds p.7 Mallets p. 78 Snare p.$7 ect waF 82 Warm-Up Sets Warm-Up Set 3, Option 1 Winds p. Mallets p84 Sate p. 58, a w32F OO ——,—=-_sE=~= Warm-Up Set 3, Option 1 (cont,) winds p. 8 Mallets p. 84 Snare p. 58 wae ee Warm-Up Set 3, Option 1 (cont) Winds p.8 Mallets p84. Snare p. 58 aver Ase sans te ph waar Warm-Up Sets 85 Warm-Up Set 3, Option 2 Winds p. 8 Mallets p84 Snare p. 58 arse phon war 86. Warm-Up Sets Warm-Up Set 3, Option 2 (cont) Windsp.& Mallets p. 84 Snare p. 58 pact =e EE Nt PPA EE Pe Pe Warm-Up Sets 87 Warm-Up Set 3, Option 2 (cont,) Winds p. 8 Mallets p. 84 Snare p. 58 an se Sa Ee AE EN wa 88 __ Warm-Up Sets Warm-Up Set 3, Option 3 an a oe (cnapignaniapapigngninpa ap Snare p. 58 Ato Carnet At us spon Warm-Up Sets__ 89 ose Warm-Up Set 3, Option 3 (cont) Winds p. 8 Mallets p. 84 Snare p.58 tm at 90 __ Warm-Up Sets Warm-Up Set 3, Option 3 (cont) Winds 8 Mallets p. 84 Snare p. 58 Warm-Up Sets 91 Warm-Up Set 3, Option 3 (cont) winds p 8 Mallets p. 84 Snare p.$8 aver bers war 92 Warm-Up Sets Warm-Up Set 3, Option 4 oe Woodwind Articulation Patterns: Mallets p88 igpaninanap Dl gngninp pa Snare p. $9 Trompe apne war Warm- Sets 93 Warm-Up Set 3, Option 4 (cont) Winds p. 8 Mallets p. 88 Snare p. 59 alse ure te waar 94___Warm-Up Sets Warm-Up Set 3, Option 4 (cont) me Biph mae Winds p.& Mallets p. 88 nate p59 Warm-Up Sets__95 Warm-Up Set 3, Option 4 (cont) Winds p. 8 Mallets p. 88 Snare p. 59 96 Warm-Up Sets Warm-Up Set 3, Option § | Woodwind Articulation Patterns: Mallets p. 8B iz DDD gn gA TAD A Ba ae phon wa2F Warm-Up Sets 97 Warm-Up Set 3, Option 5 (cont) Winds p. 8 Mallets p. 88 Snare p. 59 98 ___ Warm-Up Sets Warm-Up Set 3, Option 5 (cone) Winds p. 8 Mallets p. 80 Snarep. 59 “(eas wa2r = Warm-Up Sets ao Warm-Up Set 3, Option 5 (cont) Winds p.8 Mallets p. 38 Snare p. 59 100__Warm-Up Sets Warm-Up Set 4, Option 1 Winds p.9 Mallets p. 94 ‘snare p60 At clare Ato sax w32F - Warm-Up Sets 101 Warm-Up Set 4, Option 1 (cont, Winds p. 9 Maletsp. 9 Snare p60 eee ee ee ph ‘Soure wae 102__ Warm-Up Sets Warm-Up Set 4, Option 1 (cont, to waar Winds p.9 Mallets p. 94 Snare p. 60 Warm-Up Sets 103 Warm-Up Set 4, Option 2 Winds 9 Mallets 9. 94 Snare p.60 A se upton wae 104 Warm. Up Sets Warm-Up Set 4, Option 2 (cont. eo Mallets p. 94 Snare p. 60 -—t. a. @ aa ss w32F Warm-Up Sets__105 Warm-Up Set 4, Option 2 (cont,) ee Matets 7. 9 Snare p. 60 oe war 106 _ Warm-Up Sets Warm-Up Set 4, Option 3 core mala mngacpAD AD IR, Soar. 60 w32F Warm-Up Sets 107 Warm-Up Set 4, Option 3 (cont, — Mallets p. 94 Snare p. 60 act as: war 108__ Warm-Up Sets Warm-Up Set 4, Option 3 (cont. ‘Winds p.9 Mallets p. 94 Snare p. 60 Toa te ws2F Warm-Up Sets __109 Warm-Up Set 4, Option 3 (cont, oo Mallets p. 9A, Snare p60 ph war 110__ Warm-Up Sets Warm-Up Set 4, Option 4 Woodwind Articulation Patterns: imapignanig ap anion pg. ws2F Winds p.9 Mallets p. 98 Snare p61 Warm-Up Sets 111 Warm-Up Set 4, Option 4 (cont) Winds p. 2 Mallets p. 98 Snare p. 61 fat wor 112__Warm-Up Set: Warm-Up Set 4, Option 4 (cont) Winds p. 9 ins p. Mallets 9. 98 Snare p. 61 waar Warm-Up Set 4, Option 4 cont.) winds p. 9 Mallets p. 98 Snace p. 61 bat ag waar 114 __Warm-Up Sets Warm-Up Set 4, Option 5 ene Woodwind Articulation Patterns Mallets p. 98 lmminai ps ae waar Warm-Up Sets__115 Warm-Up Set 4, Option 5 (cont) + ae Mates p. 98 snare . 6 aise anise pt war 116 Warm-Up Sets Warm-Up Set 4, Option 5 (cont, mas Mallets p98 Snare p61 wr Warm-Up Sets 117 Warm-Up Set 4, Option 5 (cont. oe Mallets p. 98 Snare p. 61 apt war 118 _Warm-Up Sets Warm-Up Set 4, Option 5 (cont) Winds p.9 Mallets p. 98 Snare p. 61 euph w32F Section 2: Technique - Conductor Reference Pages _119 Technical Exercises “The technique section of Foundations is designed to promote technical facility in different keys by using a variety of melodic material. By mastering these pattems, students will develop a working vocabulary in all 12 major and minor keys. The technique section is organized around the Circle of Fifths and follows this root progression: Bh F CG DAE B G Db A» B ‘The exercises contained in each key area are: Scale-Related Exercises Interval/Chord Related Exercises ‘Major & Minor Scales (all forms) Interval Study Mini-Scales Triads Scale Patterns 1 & 2 (Chord Studies 1 & 2 Seale in Thirds ‘The primary band keys (B, FC, G, Gt, Ds, Ai, B) are presented on two-page layouts using all of the exercises listed above. The Jess common keys (D, A, E, B) are presented on one-page layouts containing these exercises: Major & Minor Scales, Mini-Scales, and Scale in Thirds. All student books are coordinated by keys. For instance, the key of concert Fis on pages 12.and 13 in every part book. Headers in the student book contain the instrument key followed by the concert key in parentheses. For example, in the clarinet student book, the heading of the concert F technical exercises reads: Technical Exercises in the Key of G (Concert F). ‘The following pages provide information on the content and purpose of the Technical Exercises, as well as providing. rehearsal suggestions. Excerpts from various part books are presented as examples. Clarinet Example in concen F Major and Minor Scales Major Seale # Scales are clearly labeled by quality and form. + All three forms of minor scales are in parallel relationship to the major key. ‘= In rehearsal, one- and two-octave scales can be rehearsed simultaneously by starting with the two-octave scales, and then having the one-octave scales, join in. + Articulations may also be added by the director, 120__ Section 2: Technique - Conductor Reference Pages es Technical Exercises (cont.) Articulation Patterns Different articulation patterns are provided in the student books for Scale Patterns 1 & 2, Scale in Thirds, and Chord Studies 1 & 2. Each of the student books will have an asterisk (*) after the exercise title to indicate that different articulation patterns may be used. Duplemeter aniston 7 ip on ONDA GRD mee 2 Toae tow“ (DODD ARDeDinmmz Mini-Scale & Tonic Arpeggio + The slurred articulation in the first [Ranch Hom Eeanpie in concen measure requires students to use continuous air flow from the start. + Two octaves are provided to meet range considerations and develop facility in both upper and lower registers, + Optional practice suggestions are provided, such as “also practice 8vb or 8va." + Cue notes are included in the tonic arpeggio (measure 4) to make the exercise more range accessible. ‘Alto Saxophone alt, eading in concert Db [Trombone Example ia concert Scale Patterns 1 & 2 Seale Pattern 1 + Articulation patterns are ropcipeeebhperte te provided. = * Two octaves are provided to a develop facility in both upper and lower registers. Scale Pattern 2 —_ _efpeetee sfeere * Different range needs are accomodated by offering * Split melodic lines are included for instruments with extra keys. For example, the saxophones __ [Alta Ssxephone Scale Pater Tin cone © ‘with high Ft keys, nero [alto Saxophone at ending im concert D> waar Section 2: Technique - Conductor Reference Pages _121 Technical Exercises (cont) Scale in Thirds (Oboe Brampie in concen 5 « Articulation pattems are provided. «Two octaves are provided to meet range considerations and develop facility in both upper and lower registers. Different range needs are [Aitessxophone Example in concert a accommodated by offering alternate ending cadences (see ‘oboe example). Practical alternate melodies in the upper range are included (see saxophone example). * Different range and technical level needs are met by providing split melodic lines (see clarinet/trumpet example), Interval Study + Easiest one-octave range Is + Intervals are presented + In rehearsal, rhythms and provided for each instrument. starting from the tontc, articulations can be varied. ‘ite Sexophone Example in concert Dy Triads ‘Triad structure is presented within the key, which clatifies how thirds are stacked together to form chords. + Triads serves as a useful reference for Chord Studies 1 & 2. + In rehearsal, each note of the triad can be assigned to groups of students in order to play the triads together in whole tones. Alternatively, all students can rest on count 1 and then play the arpeggios together. These two rehearsal techniques can also be combined by having some students play triads while a section or soloist plays the arpeggios. * Note: This exercise is shaded in the student books. [Glannei/frampet Example in concert w32F 122. Section Technical Exercises (cont) Chord Study 1 + Articulation patterns are provided, * Two octaves are provided to meet range considerations and develop facility in both upper and lower registers * Cue notes are included to meet different range needs (see French Hom example). * Practical alternate melodies are presented in the lower range (see trumpet example). + Split melodic tines for instruments with extra keys are included. For ‘example, the saxophones with high Be keys. ‘In rehearsal, students should check chord structure by referring to the Triads exercise for both Chord Studies, Chord Study 2 + Triplet articulation patterns are provided. + Cue notes are included to meet different range needs in the oboes (final arpeggio), and in the trombone bass line. * Although this is a unison exercise, the melodic line (chord inversions) has been altered to keep the exercise in a comfortable range. ‘+ Deceptive cadence appears in measure 4, + In rehearsal, the band may be divided Into sections or within sections to play the triplets and the quarter note accompaniment line. + Every possible triad (chord quality) within the key is used. [Pench Horn Example in concert B Technique - Conductor Reference Pages [Trumpet Example in concert oe [ita Scxophone Chord Stady 1 in concert © Section 2: Technique - Conductor Reference Pages _123 Percussion Technique Mallet Technical Exercises ‘The mallet exercises mirror those of the wind instruments and are presented in and Stick Numberin full scores on conductor score pages 126-237. a 8 Ce eer ‘twomallet fourmallet four ortwo mallet ‘The exercises include sticking and roll notations where appropriate. Mallet diagrams are included to show the correct numbering system. Variations in the technical exercises have also been provided to promote two- and four-mallet techniques. The following pages provide information on the content and purpose of the maliet Technical Exercises, as well as presenting rehearsal and playing suggestions. Excerpts from the mallet Technical Exercises in the key of concett Bs are provided. Major Seate ‘Two mallet sticking is indicated, and roll notation is included. Rolls may be added on the quarter notes. Min-Scale & Tonic Arpegsio Double stroke notation corresponds to slurs in the wind instruments. Octaves are provided. Seale Pattern 1 ‘Two mallet sticking Is Indicated. recmeacal Cece cecal e Four mallet chord study is provided. war 124 Section 2: Technique - Conductor Reference Pages Percussion Technique (cont. Mallet Technical Exercises Seale Pattern 1 Double stroke sticking (two mallets) is indicated. Alternating sticking (two mallets) is indicated. Seale n Thirds Teed Four mallet octave version (note the stick numbering) is included. Alternating sticking (two mallets) Is indicated. Octaves are provided (two mallets), In rehearsal, ask students playing with two mallets to rest on count I and play the arpeggios. In rehearsal, ask students playing with four mallets to play chords or rest on count 1 and play arpeggios with the four mallet numbering. Alternating sticking (two mallets) is indicated. Setelote eee eet eth BL Four mallet octave version i — (note the stick numbering) is Pe included. (Chord Study 2 e244 Two mallet sticking is indicated, ji > _ || Four mallet chord study is - ¢ = provided. waar Section 2: Technique - Conductor Reference Pages _125 Percussion Technique (cont.) Snare and Auxiliary Percussion Technical Exercises Each technical exercise in the wind instrument student books correspond to a full page of exercises for the snare drum. ‘These studies range from basic patterns to more complex stickings and rhythms. After mastering the basic exercises, students, should progress to the more difficult exercises. ‘These exercises do not appear in the scores. They are located at the end of the Technical Exercises section on conductor score pages 238-246, Examples of the snare/auxiliary exercises that accompany the Mini-Scale & Tonic Arpeggio exercise are shown below. Exercise 1 * These exercises help students work on accent/tap heights. mrercse2 # An auxiliary exercise is provided at the bottom of each technique page, using ee carats one or more of the following aoe instcuments: suspended cymbal, crash cymbal, bass drum, triangle, and/or tambourine. In rehearsal, remind students that innerbeats should be played softly at any tempo, even though accents are generally relative to tempo. oe Autor Exercise sh cmb bas drm) Percussion Ensembles Percussion Ensemble for Mink Sele, Seale in Ths, aed terval Study Corresponding to each technical es f exercise, there are "mini" ensembles that = es combine snare and auxiliary techniques. waa 126 __ Technical Exercises in the Key of Concert B cere Major Scale oe mt Eee ore ere ere ‘Ato & Baritone Saxophones only «extended major scale p. 10 (Cond. Score p. 247) Wa2F Technical Exercises in the Key of Concert Bh 127 Natural Minor (one & two octaves) Winds & Mattes p10 Snare & Aux. Pete p. 62 (Cond. Score p. 238) er, Ensembles p. 69 (Cond. Sore p. 245) 128 _ Technical Exercises in the Key of Concert Bb Harmonic Minor Scale (one & evo octaves) ‘Winds & Mallets p.10 Snare & Aux. Pee. p 62 (Cond: Score. 238) ec, Ensembles p. 69 (Cond. Scone. 245) waar Technical Exercises in the Key of Concert Bb __129 Melodic Minor Scale (one & two octaves) ‘Winds & Mallets p. 10 ‘mare & Aux. Per. p, 62 (Cond, Score p. 238) Perc. Ensembles p. 69 (Cond. Score p. 245) 130_ Technical Exercises in the Key of Concert By Mini-Scale & Tonic Arpeggio Ve Snare Aux, Pee. p 63 (Cond. Score. 239) Pere. Ensembles p. 69 (Cond Score p. 248) fee ssp tee 2 LU oe Efe >: wa2F ~ Technical Exercises in the Key of Concert Bb _131 Scale Pattern 1 ‘Winds seMatets p10 Articulation Patters: Snare & Au: Pore. . 66 (Cand Score. 240) p Per. Ensembles p. 69 (Cond Score p. 245) TUL impanan aap gngaapapin an petietestes 132 Technical Exercises in the Key of Concert B} Scale Pattern 2 ‘Winds & Mallets p. 11 Articulation Patterns: Snare & Aux. Pere p. 64 (Cond. Score p. 240) in TD. nipaptnonin a ere. Ensembles p 69 (Cond. Score p. 245) Acar Technical Exercises in the Key of Concert Bb _133 Scale In Thirds ‘Winds & Mailets p. 17 oe eee DDD DAT AP ATRIA, “men ecnt son 9 tp £2 g 2 134 _ Technical Exercises in the Key of Concert Bb Interval Study Winds & Malet. 12 Snare & Aux. Pee. p 66 (Cond Score p. 242) Pere Ensembles p 69 (Cond. Score p. 248) emt t ‘Winds & Mallets p. 1 Snare & Aux, Pere (tacet) Perc. Ensembles (tacet) Wa2F Techi 1 Exercises in the Key of Concert Bp 135 Chord Study 1 Winds & Mates p11 Articulation Patterns: apinaa pap nny TBA TRE ‘Snare & Aux. Peve. p67 (Cond. Score p. 243) Pere. Ensembles p, 70 (Cond, Score p. 246) 136 __ Technical Exercises in the Key of Concert Bb Chord Study 2 ‘Winds & Mallets p11 ee ee cere pnoopinnoaninapaimmmma — le manen 7 (cmd sop evan waz Technical Exercises in the Key of Concert F__137 Major Scale (one & two octaves Winds Mates p12 “ : ce Snare & Aux Peep 62 (Cond. Sore 238) ese: Enseonbles p69 (Cond, coe p 248) Tenor Saxophones only extended major scalp. 12 (Cond Score p. 247) wa2k 138__ Technical Exercises in the Key of Concert F Natural Minor (one & two octaves) w32F ‘Winds & Mallets p. 12 ‘Snate & Aux. Perc p. 62 (Cond. Score p. 238) Perc, Ensembles p. 69 (Cond. Score p. 245) Technical Exercises in the Key of Concert F__139 Harmonic Minor (one & two octaves) Winds & Mallets p. 12 Snare & Aux. Per. p. 62 (Cond. Scare p. 238) Perc. Ensembles p. 69 (Cond, Score p. 245) w32F 140 _ Technical Exercises in the Key of Concert F Melodic Minor (one & two octaves) ‘Winds & Mallets p. 12 ‘Snare & Aux, Perc p. 62 (Cond. Score p. 238) Perc. Ensembles p. 69 (Cond. Score p. 245) Technical Exercises in the Key of Concert F__141 Mini-Scale & Tonic Arpeggio nds Mate p12 Snare & Aw, 65 (Con. Scr p. 238) Pere. Ensembles p. 69 (Cond. Score p. 248) 142 Technical Exercises in the Key of Concert F Scale Pattern 1 Winds & Mallets p. 12, So oo Ini ggAp gna ATED Tg "Tne eon Semen 9 . : eetes . : Technical Exercises in the Key of Concert F. 143 Scale Pattern 2 ‘Winds & Mallets p. 13, ee eee cn ey igpannanin aig oningag TDA TU " : 1 a w32F 144 __ Technical Exercises in the Key of Concert F Scale In Thirds Winds & Mallets p13, Articulation Patterns: ‘Snare & Aux. Per. p. 65 (Cond. Score p. 241) Perc, Ensembles p. 69 (Cond. Score p. 245) mo mga gnganpz man age [ w32F . e Technical Exercises in the Key of Concert F__145 Interval Study — ace A Pee. Cd Sep. 22) Perc. Ensembles p. 69 (Cond. Score p. 245) # ari Triads of the Concert F Scale (this exercise is shaded im part b00K5)|

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