COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Percussion cons! od eior WILL RAPP Dear Music Educator, ‘Along with my fellow authors, am proud to introduce you to Essential Elements 2000, This exciting band method is based on a sequentia-learning curriculum certain to bring success to you and your students. Essential élements 2000 features the time-tested cornerstones ofits predecessor, the popular Essential Elements for Band, plus an abundance of new material, all designed to develop a foundation for the positive growth of your band program. Each student book includes a play-along CD giving your students the experience of playing with professional musicians from day one of their musical career. Music theory, history, conducting, and improvisation are also integrated throughout the book in support of the National Standards for Arts Education, Ongoing research continues to show the importance of music as it relates to learning, Scientific data now confirms what music educators have intuitively known for years: students who study music attain a higher level of achievement facet of life jerefore. YOU play a vital role in the development of every child who chooses 2 member of the band; YOU MAKE A DIFFERENCE! lecting Essential Elements 2000. Best wishes for a joyful and usie-making, CENTRO ESCOLAR CEDRos Aa__ 18467 Proved. Saurt hey Facturs Sy a Precio 1G ssaN osss-oo3100 Focha_t 9 ABR. oH Copytight © 1999 by HAL LEONARD CORPORATION Chas FEL inernatons Copyright Secured. Aight Reered eIN2 EN HAL*LEONARD® 2 CORPORATION azTABLE OF CONTENTS Student Page ___Topie/Title Conductor Page _ Sequence of Essential Elements Chart...) 69 Using Essential Elements 2000, . 10.12 Starting System, a rythm Raps Play Alang CD Disc, Hora and Oboe 10 Pereusion Pre-Planned Fst Concert " Performance Satlghts, Daly Warmups. n ubank Scale ane Arpegglo Stuales, EF Rhythm Studies " Music Theory History and Cros-Curiculer Actives 2 Creativity, sessment, litioal Resourees...,. 2 1 History Of The instruments 1345 23 Student Book introductory Pages 1625 ute 16 ‘Oboe Bassoon, 7 Clarinet, Alto Clarinet. 18 Bass Carnet, Alto Saxophone... 9 Tener Saxophone Baritone Saxcphone 20 Trumpet, F Horn 2 Trombone Sartre 2 Tubs elect Bass, 23 Percussion : 24 Keyboard Percussion Basic Percussion Instruments. Ss 4 The First Note 26 2.count Ang iy, 2 SaNew Note 28 ‘Two's Team SOs S.Heacing Down 30 Moving On Up 31 s 2.The Long Haul 2 8 Four 8y Four 3 Touchdown 34 10-The Fab Five 35 11-Reading The Notes. 37 12. Fis Fhe 38 13.Essenial Elements Quiz Ce ‘ 14.Roling Alon. 29 18.Rhythm ap. 40 16.The Hal Counts 40 17 Hot cross Buns a 18. Go Tell Aunt Rhode a 9. Essential Elements Quit 2 7 20.Rbythm Rep. 43 21 The Whole Tring 3 422 Spl Decision = Duct 4 23 Maren Steps. 45 Elen To Our Sectiont : 46 Uae Row 4647 ie Eeeents Elements Que a7 8 49 30 50 5i.Lorcos Sage Duet. 31 Bra Mazar Melody 5253 52 Essential Elements Quiz e 33 ° 33.Deep Pockets 54 44. Baoale All Day 38 35.Jump Rope. 36 36 ATsKet AcTasket 37 37. Loud And sof. 58 38.dnale Bel 50:59 438. Dreyal 60.61 10 40,8hythm Rap 62 49 ighth Note Jam. 3 42skip To My Lou 3 42. Long. Lang Ago. et ‘42.0h Susanna : 65 45. Essential Elements Guz Willa Tell 66.672 3 u 3s 36 7 ry Fe a ans 4s 4647 165. Dancing Melody « 166.8 Capitan. 187.0 Canada 1a Essent Elements Guiz- Meter Mania. 169.Snake Charmer. 17o,Dark shadows, 171. Clore Encounters 7a Mareh Slav... 173.Notes in Disguise, 174 Hal? Steppi 175. Egyptian Dance, 176 Sver boon Boat 177 Theme From Symphony io.7- Oust 178.Capricio alien Yya.Amercan 2311 190. Wayfaring Stranger 1B1- Essential Elements Quiz Seale Counting Conquest Performance Spotlight - Band Arrangements "82. America The Beautiful i 183.13 Cucaracha Performance Spotlight - Band Arrangement eéTheme From 1812 Overture Performance Spotlight - Solo with Accompaniment Ms Eine felne Nachtmuse (Concert & version) 185. Eine Kleine Nachtmusk (Concert Bb version) {J85-Theme From Sympony No.1 (Concert version) 185.Theme Ftom Symphony No.1 (Concert version)... 188, Can-can (Peression Ensemble), Performance Spotlight Duets "86, Sing Low, Sweet Chariot 17.La Bambs . Rubank Seale and Arpeggio Studies ‘Concert Bh Major Be 1-4 Concert Eb Major= Be 1-8 fubank Scale and ArpeggleStudles ‘Concert F Major EX es Cen abajo Bere 2 Rhythm Studies Creating Muse Essential Elements Star Achiever Chart Fingering Charts Fite ‘oboe. Bassoon. Clarinet ooo Bike Garnet... Bass Clarinet, Alto Saxophone! “Tenor Saxophone Battone saxophone. ‘Trumpet... FHorn Trombone Baritone BC. Bertone TC... Tuba Electric Bass Sor Drum international Brum Rudiments... eyboard Percussion struments Reference nde. Reference Index for Percussion, Percussion Teaching Tips credits 2s 216217 216-220 22 22 223 err 235 236 237 228-229 2230 a1233 234.235 236237 236-239 240.241 2an2ae 245-249 250.256 27 258 259 260 261-268 1264-267 268-271 2277 376-2063 204-289 290-295 296-297 308-305, 306-307 308.309 310311 U312313 U3taais, 316317 315319 320.321 322323 324325 326-327 326.329 "330331 332.333 334335 336.339 340-341 302 3 388-359 360mx SEQUENCE OF v[2 ve “a | gue ie, on | Poe wcnasiee ‘pecan v foes naar z Tama fered nc 7 fotoESSENTIAL ELEMENTS 8 16 wv | | cs |i = ae 3SEQUENCE OF ; veins | vere | swoam | save | veram | zosaos | toa | saa maa | zens 25 26 7 28 2 | 30 | ar | 32 33 34 dy sunt wise i vo a 2 nt ‘het sin CovelESSENTIAL ELEMENTS Fe eer ee ee ae a kev || oe | | wo bs o | af] | «| a@]e fei i- pot = |“ — eri oe Somes seven, | Mamet | "SESE Pat | EES | wee | cay | St "EE | eye Hine | operon | were [ioe | “ae | St sie | mee |e adm | one = ma K 1 |- COMPLETE LISTING OF MATERIALS B soox 1 STUDENT BOOKS {with Individual Cv) 00862566 FLUTE 00862567 (080 (inc.2.CD) 0862568 BASSOON 00862569 CLARINET (00862570, ALTO CLARINET 00862571 BABASS CLARINET ‘00862572 &} ALTO SAXOPHONE 00862573 BATENOR SAXOPHONE. (00862574 [BARITONE SAXOPHONE 00862575 TRUMPET (00862576 F HORN (incl.2 CD's) (90862577 TROMBONE 00862578 BARITONE (8.C) (00862579, BARITONE (TC) 00862580 00862581 00862582 PERCUSSION (incl Keyboard) CS ADDITIONAL RECORDINGS 00862585 PLAY ALONGTRAX - 2 CDi Includes Disk 2&3 (Ex 5910 bhecompaniment racks with #259 played by small band ensemble LO —_—_ TEACHER MATERIALS 00862565 ‘CONDUCTOR BOOX Includes CO Oise 1.4 100862586 ooge2se+ Lo10 USING ESSENTIAL ELEMENTS 2000 SSENTIAL ELEMENTS 2000 is a comprehensive method for beginning band musicians, and can be used with full band, like-instrument classes or individuals. It is designed with fail-safe options for teachers to customize the learning program to meet their changing needs. The Conductor book includes all the music and text from the student books, plus time-saving EE Teaching Tips throughout the score. As in the student books, the introduction of a new concept is always highlighted by a color box. STARTING SYSTEM Use the unmeasured Long Tones to establish good tone production from the very beginning, and use the Quarter Note exercises to teach pulse and rhythm, These two types of exercises are alternated during the duction of the fist five notes. In this way, students can rate fully on tone production with each new note, arg still make rapid progress toward performing their first real melody. ing with exercise 27, each new note is introduced 2 Jong tone at the left margin of the student page. long tone practice will help develop solid RHYTHM RAPS +r note pulse, all new rhythms » ‘apping exercises in the innovative Rhythm Rap format. After each Rhythm Rap, the identical rhythms are played on simple pitches in the next exercise, ly, they appear in an appropriate melodic setting in 12 subsequent (3rd) exercise PLAY ALONG CD DISC 1 Every student receives a play-along CD in their book which covers the first 58 exercises. From the very beginning, they can model tone production and technique by listening to a professional soloist playing their specific instrument! For classroom use, the Conductor book includes a play along CD featuring the same exercises, with a small band ensemble demonstrating the melody part Each track is played twice—the second time is the accompaniment-only. There is 2 one measure count-off before each track, with metronome clicks that are subd vided by soft cymbal notes. These tracks are performed on, real instruments,..not synthesized by a computer. Real instruments support the phrasing and dynamics, teaching ‘musicality from the start. And they explore a rich variety of musical styles and cultures, with classical, rock, jazz, country and world musi, F HORN AND OBOE The unique considerations for Horns and Oboes are addressed with the optional starting system on pages 4A through 114 in their books. These Left-side pages (Horns conly/Oboes only) are written down a perfect 4th from the unison band, placing them on ideal starting notes for these instruments. The acing Right-side pages, 48 through 118, are in unison with the full band and offer octave options for the Horns where appropriate. For students using the Left-side (Horns only/Oboes ‘only) starting system, there are 2 additional pages: 11C and 11D. These unique "Range Builder" pages introduce the 4 new notes needed to combine these students with the full band (for page 12 to the end), With each Horn and Oboe book, students receive two Ds, featuring a professional soloist and accompaniments for either starting system. If you chose the Left-side (Horns only/Oboes only) pages, simply have the students practice with the appropriate CD. Play-along tracks for pages 11C and 11D appear at the end of the Left-side (Horns only/Oboes only) CD.PERCUSSION ‘The 128-page Percussion book takes @ complete percussion approach, Each regular student page is expanded to a 2-page spread which includes the optional auxiliary percussion parts and clear playing instructions forall instruments, ‘The last 48 pages are the complete Keyboard Percussion carts. The included Play-Along CD Disk 1 features all the percussion... ineluding drums, auxiliaries and keyboards. (On pages 344-359 of the Conductor book, look for the special EE Percussion Tips which relate solely to Percussion. PRE-PLANNED FIRST CONCERT wuse research shows that students are more likely to succeed if they perform a concert for their parents during the first 8 weeks, ESSENTIAL ELEMENTS 2000 includes a complete pre-planned concert program on student pages 12-13, At this point, students have learned just 7 notes. The material is flexible in design. featuring a warm-up, a vet (or 2-part band arrangement), a round, a piece to feature the woodwind, brass and percussion sections, an encore-style plece, etc. ‘The concert for parents could also include highlights of the music learned earlier in the year, as well as demonstra- tions of the instrument families. ‘The music on these 2 pages can also be used as a culmi: nation activity to test or review all previously learned skills. PERFORMANCE SPOTLIGHTS In addition to the pre-planned first concert, there are 6 more full band arrangements throughout the book. Plus, the duets and trio can be used as ensembles or played by the full band, Performances for relatives, community ‘organizations, or for the school itself are highly encouraged. ‘There are 2 solos with written piano accompaniments for each instrument. The first solo experience is Dvorak’s Theme From "New World Symphony" on student page 23. (On student page 38, upper woodwinds perform Mozart's ine Kleine Nachtmusik, while brass and lower woodwinds play Brahms’ Theme From Symphony No. ‘A special solo for snare drum, Hungarian Dance No. 5, is found on student page 23. Offenbach’s Can Can, arranged for percussion ensemble (4-6 players) is found on page 38 of the percussion (and keyboard) books. DAILY WARM-UPS You can establish good practice habits with this systematic approach for developing tone and technique. Use the ©: Warm-Ups on student page 18, replacing them with th second set of warm-ups when the class reaches page 30. '> addition to tone and technique exercises, each includes 2 Bach chorale with simple harmony. RUBANK® SCALE & ARPEGGIO STUDIES Developed from classic Rubank etudes, these supplement: exercises on student pages 40-41 provide many different teaching opportunities. They are excellent for expanding individual technical skills and may be introduced as extr2 challenges when appropriate for individual players cr sections, Ifthe entire band has reached these pages sequential they can also be used as full band warm-ups and technique builders, Additional performance skils can be reinforces by varying the tempo, dynamics ete EE RHYTHM STUDIES These supplementary thythm exercises appear on studen: pages 42-43, Notated on a single-line staff with 4 meas per line, they are very easy for students to read, The rhythi advance sequentially, and can be used in any length of measure groupings. Simply choose the beginning and ending measure, plus any repetition desired. start by using a single pitch throughout the measure(s) selected, Then change pitch only at the beginning of measures, By specifying how often to change pitch, the thythms can become very challenging. The use of these supplementary exercises should be started in the early stages of astudent’s development.MUSIC THEORY, HISTORY, AND CROSS-CURRICULAR ACTIVITIES All the necessary materials are woven into the learning program=—right in the student books. With teaching time in such short supply, it would normally be impractical to take class time to relate music to history, world cultures or to other subjects in the curriculum. But ESSENTIAL ELEMENTS 2000 correlates these activities to the concepts ‘and music throughout the program. These Theory and History features are highlighted by color boxes and appear 21 36 locations in Book 1 Asa result, teachers con efficiently meet and exceed the National Standards for Arts Education, while still having the ime to focus on music performance skills, CREATIVITY sential Creativity exercises appear in several places throughout Baok 1. These are preliminary activities de- ned to stimulate Imaginations, and to foster @ creative titude toward music, At any time after students complete exercise 137, you can direct them to the Creating Music activities on their page 44, This page can be used as 2 complete lesson an Compasition and Improvisation. By completing the activities, students are guided through sic concepts about how melodies are created. ASSESSMENT ident page 45, there is a complete list of 28 Star Achiever exercises, These include the Essential Elements Quiz and Creativity exercises, the Performance Spotlights 2n¢ additional lines which encompass all the notes and ‘s used in Book 1. On the students’ page, they can fil in 2 star for each item which they pass. Teachers can use this basic checklist to keep track of .dent performance assessments. In addition, there is a detailed list of items to evaluate (EE QUIZ ASSESSMENTS) above each quiz in the Conductor score. Each of these indicate all the new material and skills taught since the previous quiz, Additional Resources Available... i PLAY ALONG CD SET-DISC 2 & 3 This set of play-along tracks features a variety of accompaniment styles similar to Disc 1, and includes | ‘exercise 59 through the end of Book i. It features the melody demonstrated by 2 small band ensem followed by the accompaniment-only for each exercise For use by all instruments, TEACHER RESOURCE GUIDE This valuable resource integrates various subject areas of the school curriculum into the band program, including assessment and enrichment materials and a convenient ready-to go set of lesson plans, A CD-Rom (Windows/Mac) is included with | editable word processing file. | PIANO ACCOMPANIMENT BOOK Easy plano accompaniments for all the exercises in Book 1 | CORRELATED MATERIALS The ESSENTIAL ELEMENTS BAND SERIES include: criginal and popular music, arranged for beginning and, Each publication is correlated to one of five specific "levels" within Books 1 and 2 (see the Sequence Of Essential Elements chart in the Conductor book for details). Contact your music dealer or the publisher for information on the latest releases in this series.Eas [A brief instrument history appears on page 1 of the corresponding student book Director Flute utes were known to exist in ancient civilzations. Over the years they have been made of wood or metal, Early flutes, such 25 recorders are played painting forward, The other type of Mute, Called a transverse ute unt the mid-18005,is played tothe side. In 1847,Theobeld Boehm designed the made fute. This ute ‘capable of playing with more volume than cider futes. The Keys Mr Boehm added also allow the instrument to play 9 full chro- matic sale andhelptto play better in tune, “The flute fei includes the C Flute the most common).€Picolo ‘to and Bass Flutes, As the highest pitched members of the concert band; arching band and orchestra, flues play melodies hatmonies and solos, and are Important members of the ‘woodwind family. 4.5, Bach, Claude Debussy and Ralph Vaughan Willams ae impor tant composers who have witten music for the fure. Some ‘famous ute performers ae Lous Moyse and James Galway Oboe tigins of the oboe can be traced to late 13th century shaw This famly of double reed instruments was prominently featured in muse ofthe Middle Ages (500-1430), Feenchman Jean Hotter is creited with inventing the oboe in 1669, The name “oboe actually mispronunciation of hautbol, the oxginal French word for “high wood" shawn instrument. In the 18th century, instrument makers crested an oboe fingering system modeled after the flute designed by Boehm, Today most ‘boes are made withthe Boehm system. “The oboe family includes the Oboe in (the most common), Oboe Amore in A and the English Hom In F In concert band and toreneste, the oboe plays solos and blends with other woodwind instruments, itis the highest pitched double red instrument, CPE Bach, Beethoven, Mahley R Stiouss and Vaughan Willams ae important composes who have Included the oboe in their ‘wing, Famous oboe performers include Heinz Holliger and John Detancie. Bassoon : “The catlst ancestor ofthe bassoon was called the dulan, This one place dale red instrument provided the important bassline in teary T6th century mus snesecined batons fst appeared In Face nthe ih aac cn hmenraaer (176-145) the mst significant on- {rotor tothe design ofthe modern bassoon, He improved the oun or note capabites of he istrumert, and pushed Soper obouthis Innovations n 831,heand A Mechel founded » fbctory which manufactured the modern German system bassoon. Clonal there were five members ofthe bassoon family. The two surviving instruments today ae te Bassoon and the Cotrabassoon. In concert band and orchesva hese versatle instruments add to = the bass fin, play solos and blend well with other instruments. ‘wal Moz, Mable, Vio-Lobos,SaintSatns and Stravinsky are Inmpotant composers whe haveincuced the bassoon inthlr writing. = Famous bassoonists Include Bernard Garfield and Sherman Wa, 2 Clarinet, Alto Clarinet, Bass Clarinet Wa in 165, the Garman instrument mer ohann Denner vented ‘the clarinet by trensforming the double reed ‘chalumeau” = ranged mere Sete ad outs only play ntes nan range he ded Yel key Sow ns new irstrament to ply igh notes. The word catinet ome fom the talon word anna ose foren alder type Naty 5 srehed wumpet Today te lon range ofthe caries ale {herehlomeau resister because ofthe low notes fhe olla! chatimeat = eS by the 1840' two French instrument makers named Klose and Buffer had created a carne fingering system modeled after the flute key systern designed by Boch. Nearly all darnets today ‘are made wth the Boehm system. ‘The clavne family includes the 8 Clarinet, the A Clarinet used in some orchestra music) the 8 Bass Clarinet. the & Soprano and Ato Clarinets, the B Cntrabass Carnet and 8 Contabass Clarinet Fingerlngsare vitally the same for alclarinets, making it possible fora clarinetist to play any of the instruments. As one of the ‘primary instruments the sound of @ concert band lrnets Play tmelacies, harmonies and soles. Mozart, Brahms, Weber, Bartok and Hindemith are among the Important composers who have featured carinets in ther vrtng ‘Some famous clarnetists include Richard Stoltzman, Benny ‘Goodman, dle Daniels and Staley Drucker.: = ET ‘Alto Saxophone, Tenor Saxophone, Baritone Saxophone Inthe 18405 Adolphe Sax invented the saxophone family. Intoday’s concert band, saxophones play harmonies and blend with other band instruments. Saxophones are also very popular jzzand solo instruments, ‘The saxophone family Includes the Bs Soprano, & Alt the most common, 8, Tenor E> Baritone and B Bass Saxophone. Fingerings ae vitally the same on all saxophones, making t possible to play any saxophone. John Philip Sousa wrote for saxophones in his band compositions Bizet, Ravel, Debussy and Prokofiev Included saxophones in thelr orchestral writing, Duke Elington’s Jaze arrangements greasy efined the unique sound of the Instruments, both in solo and ensemble playing Some famous saxophone performers ae Eugene Rousseau, igure Rascher, Dav Sanbore, Branford Marsal and Gerry Mulgan. ‘Trumpet "The otgins ofthe trumpet can be traced to ancent Egypt Aca and Greece, These“natura valueless trumpets were made of wood. bronze or slver Inthe Middle Ages (500-1430), these instruments played only lower notes, During the Renassance era (1430-1600), ‘they performed at many ceremonial functions. Gradually players began to develop ther higher range, especialy n the Baroque era (4600-1750, | Heivich Stbizel introduced a valve trumpet in Bein in 1814. 8y +1830, the 8+ Cornet wae introduced in Europe. Valves made It possible to pay all the notes ofa chromatic scale-on these two losely-eltes instruments CCornets and trumpets are the highest pitched members of the brass family. AS one ofthe primary instruments inthe sound of ‘concert bands and jazz ensembles, they pay melodies harmonies ‘and solos. A trumpet is longer then the more conieally shaped Tubas F and C Tubes, Tubas are the important bass foundation instrument of the concert band, They play bass lines, blend with other nstuments ang ply soles. Wagner, Malet, R Strauss Vaughan Willams and Hindemith are composers who have Included tubasin thelr writing. Some famous ‘tuba performer are Willa Bel Harvey Pilps and Roger Bobo. Electric Bass ‘The invention ofthe Electrc Bass (1950) i credited to one man Leo Fender, 2 California guitar maker who wanted to create an mplfied version of the double (string) bass. is early years the Elect Bats, also known as the Fender Bass or Bass Gultar, was Used primary for popular dance bands and early rock 't roll groups Todaysthe Electric Bassas become one ofthe most papular instru ‘ments andi found in many types of musle groups ~ jazz and rock ‘bands pit orchestras, sacred music and even marching bands. Is distinct amplified sound ie considered to be the one ofthe most signiicant influences on musical stylein the ast 40 years, Most lectrc Basses hove four strings tuned tothe same pitches as ‘double bass. Recent ve and sx string basses have become ‘common with players who want to expand the range and versati ity ofthe instrument Many players have bacome well knovin because thele Innovate, distinctive basslines with the Hectic Bass: Paul MeCaroey (Beatles) Jamas Jamerson(Motovn), Jaco Pastorius lazz/Fusion, and Vitor Wooten (Contemporary/Funk Percussion Percussion instruments were invented by prehistoric cultures, However, mast percusslon history is connected with military sroups. Drums were used in the 700 AD. Moorish invasion of Dtia, These instruments were ancestors ofthe snare drum ar timpanl Both the Seots and Swiss developed the snare drum around 1300, ‘round 1450, Turkish miltay bands featured triangles, cymbals and several izes of drums, The Instruments used In these anizary Bands’ communicated signal to large numbers ofighting oops. 4.5.Bach, Mozart Beethoven Beroz, Debussy, Sousa and Stravinsky {xe afl important composers ho have included percusslonin their wing. Common percussion instruments ate the snare drum, bass drum, crash oybale tiangle and timpanl. Famous percussionists inclode ‘ieFith Peter Erskine, Suddy ch and Al Payson, Keyboard Percussion Keyboard percussion instruments were known to exst around 3500 BC in the Orlent. The xylophone is probably the oldest ieyooard percussion instrument while the vibraphone is @ 20th century American invention ‘Theil purpose ofthe glockenspel, or orchestral, wast aid 13th century Dutch bel masters in tuning their tower calions. The similar bell yra was used by Garman armies after 1870, Todoy, keyaoard percussion instruments are used in marching bands, concert bands and orchestis. Saint Sans Mahler Tehaikovsky and Hovhaness areal Important composers who have included keyboard percussion instrumentsin theirmrting Common keyboard percussion instruments include orchestra bli sylophone, marimba, vibraphone and chimes. Cllr Musser, Mit ‘ekson, Gary Surton and Lionel Harmpton are famous Keyboard percussionists. SUNSWAMISNI AHL 40 ANOLSIHEon Director Pages 2 and 3 in the student books contain the basics for getting started. Guidelines for posture, breathing & aistream, and detailed descriptions on producing the essential tone are reproduced hheve a they appear in each student book. In addition, your own suggestions and techniques will help provide a thorough foundation for each beginning instrumentalist. ‘Specific step-by-step instructions for instrument assembly are showin on page 3. Review the principal parts of the instrument and point out the need to handle musical instruments carefully. Spend time with your beginning instrumentalists to insure that they are using proper posture and ‘correct playing position for their specific instrument. ‘The percussion book includes pages for both Matched Grip" and'"Traitional Grip.” Be certain percussionists are loaking atthe correct pages to reflect the percussion starting system you wish them to use. A list of basic percussion instruments appear on page 4-A of the student percussion book (Director page 25), Identify all peccussion Instruments and mallets for your students anc instruct them on your preference forthe set-up ofthe percussion section. [atthe bottom of page 3 in each student book, there are some basic elements for reading music. Your students should understand these music symbols before moving on to the frst playing ‘exercise on student book page 4, i ong tigthar wed READING MUSE sheetroe pre THE BASICS Bassoon otng I Topethor ‘THE BASICS eating TopetharClarinet r ‘THE BASics ia “Sob etap i thc Ba wer | et Alto ClarinetDIBLIUIECA CEDAGS Bass ClarinetTenor Saxophone ‘Student Book Pages 2-3 Baritone Saxophone [ THE BASICS‘rumpet ‘THE BASICS eee F Horn ‘THE BASICSErne Percussion ~ Matched Grip [oe ening Topher settee Percussion - Traditional Grip THE BASICSSed ‘To begin, we'll use 2 special ‘teacher tes you tovest Practicelongitones each day, ee p= a ‘z= r=] 72 oss -=S §°H if your brass players are having difficulty in playing the Concert F encourage them ‘to use a faster airstream, or to place a bit more upper ip in the mouthpiece. & teachine TIP Al, Oboe/Alt. FHorn from Leftside (Oboes only/ Homs only) student pages AA-ITA, Notes sound a 4th lower than right side (Full Band) unison pages Oboe —_Practice this exercise using both the‘regular*and the forked" fingering for"* FHorn Your teacher will tell you which line to play fist, and how long to hold each note. Double Horn Players:add the thumb key and use the Bb Horn fingering to play": Percussion Play your quarter note asthe band plays their long tone. Start with right-hand stick, Kybd. Perc, Play alegato stroke for each new note 1, THE FIRST NOTE Hold each long tone until your teacher tells you to rest FEST — ee [= EST: REST: = SREST-7 reared The Beat ee Notes And Rests The beat is the pulse of music, and like your heartbeat it Notes tell us how high ‘or low to play by their ‘placement on should remain very steady, counting aloud and foot-tapping dine o space ofthe music staffand how long fo play by pelpust s Tap you foot dawn on e3ch Shelr shape. Rests tell us to count silent beats. Soe ce omnis ‘ ab quanernote = beet at 4 Y auarterest = Tsilentbest £2000 uses wadional counting system and teaches the subahie Soe BB reAcaine iP fom etesmng isheptaecoumeand cen eae uth your stents before playing tem. vow Prcic this erst using both the*reguar"and the forked Angeeng for 2. COUNT AND PLAY zouewtt Ho parsare trom tse Oboes on/Hors ony BES . obarec Alternate Sticking \hvedtehndsicsna pate usually beginning withthe right hand.2B BOT ed NvOboe soon Bb=== t+ 2 laine, Atociinet yp F Ke SS 8 Tenor Saxopher mst orn FSi & mn 999 800 oanr888 | F == 00 ooo we Make sure keys and valves ate fully depressed, Clarinet ~ thumb must completely BEACHING TIP cover ine hole Oboe Use the half-hole key on flat.” FHorn Double Horn Players:add the thumb key and use the Bb Horn fingering to playBh.” Percussion Play sticking es marked, . A NEW NOTE Look fo the fingerina/slide position diagram with each new note. ne [= = TEST TEST. —— a = = aT ————— a oo ~ 4 eae (SST = == == = ——— ST ———— i Hom pats eam et-site Oboes noms on pape20 Encourage students to use a steady airstream wile ong B TEACHING TIP ‘puis ofa 1uing instead of using oe Use the forked" fingering to play “F” TWO’S A TEAM -.Obeeat.e Hem ports ave ham fs (Obee ono on panesPree d Batcon a | ia eo Res ‘hen giving a preparatory beat its important forte teacher to model corect BTEACHING TIP Ying fo ucts inal oly temo brane with hem, Oboe ——_Use the hal hole key on." FHorn Double Horn Playerstadd the thumb key and use the Bb Horn fingering to play “A” Percussion Always stand straight and tall with your shoulders relaxed HEADING DOWN Practice long tones on each new note ie oat mesos g BES} —— BSS: 8 & & D = D== D= D 4 = 5 — ae 5 = = = = REST: s = REST- = i => SS tee |e = = s | a wb = ioe = =— REST 5 —— AST = =—> SS SS SS = me io = —— 4 4 =— SSS SS SS - — er ‘oboe F Hom pars are rom ere (Oboes onyMors ony poe” Teach students to observe all ests. Say*est“on each ofthe quater rests found Breacuine 1 seston Oboe The“forked!'fingering makes it easier to play “F” when moving to or from"EV"0r"D" A pattern in'which two consecutive notes are played with the'same hand (RALL, BALL). “Tins pattern may begin with either a double right or double let sticking 6. MOVING ON UP ‘Ah Obo/Ae F Hom pars aretom Let side (Oboe ono any ages2 Indicates the end of piece of music, Without stopping play once again fom the beginning Double Bar Repeat Sign 8 : SY D= ABSt p= 6S e oe oe C= cS C= 030. 5 oe & TEACHING TIP be sure students take afl breath to lay their new note with good tone 7. THE LONG HAUL j | REST REST— bene — — S =: = —— — ae REST SS = renin (ERS = cum, [ES — Sa = rT Al. Oboe/At.FHom pos are fom ese oboe onions ony pagesJB TEACHING TIP Encourage students to playful value quarter notes oboe —_Use orked! fingering on F” Roll your first finger to the halt-hole key to play "Eh Percussion Practice Right Hand Lead as marked. Kybd, Pere, Use Alternate sticking, 8. FOUR BY FOUR u Tie ‘At Obert Ham pers ae am efile (Oboes ones on 90985.. oboe Arobce Boon coiret Basix F Sh ai c= | 2 . G : 6 c é Bb Sas Bb B TEACHING TIP when playing iong notes students should relax the tongue FHorn Double Horn Players: add the thumb key and use the Bs Horn fingering to play" 9, TOUCHDOWN x [Be = REST. SS REST. pee = - REST REST: = [SS SS PRE [ES = REST. . = REST = = ne (Ee = REST. = = es | En | REST: = = REST: => =———— Ea : : 7 TEST : ——— cate ———— REST 5 = RESTB TEACHING TIP Keep the embouchure steady while tonguing the notes bee ——_Use*forked" fingering on °F” rcussion Right Hand Lead, sbd.Pere. Use Double Sticking 0. THE FAB FIVE Oboe Hom ports oe ham tse Oboes noms ont pase: Time Signature Troblocit = sonscot DE Ne SO aan ‘of note names on a music staff: ‘of note names on a music staff: bests permessure | + ‘Second line is G, Fourth line is F. Quarter note gets oniebeat me Note Names Each note is on a line or space of the staff “These note names are indicated by the let Aci Sharp —$ _alsesthe note and remains in effect forthe entre measure Flat by lowers the note and remains in effect for the entire measure, Natural cancels tet or sharp () and remains in effect for the entice measure. Percussion Clefs indicate a new line of music and a set of note names. Percussion instruments use three common clefs: Percussion Clef Treble Clef Bass Clef Snare rum sels Timpani == Bsonm Xylophone = Warmbe = Gmnts Morice DE Chae store drum ana = Dumset Virephone bass rum publications pecesory Instruments chimes often use the bass cet. Abd. Per This chart will help you play notes on orchestra bells. Practice all exercises with other percussionists Using the keyboard percussion section at the end ofthis book. Switch parts often! GH/AS N/R C/O OH FAG)GE/AG B/S C4/)A/EDFH/GHH/AL AN prpore..z0re- be0.2 JB TEACHING TIP Have students say note names before playing this exerct= yee Use forked ngering on 1. READING THE NOTES compare this to exercise 10, THE FAB FIVE HOF aE ae 2: Oboe. Hom pars re hm fe Oboes ona en poe. I “The bass drum is one ofthe most important instruments in band. Hold the bass drum on Bas. 7 pulling the sound out of the bass drum. B.D, [the abbreviation for bass drum.38 mm Oboe © = Useforked fingering 12, FIRST FLIGHT a if i i I a » a 2nd atoning sents mak tom ppp nein belo lying B Quiz ASSESSMENT tine signature quarternotes and rests fs ive note names, epeat sign gE 13, ESSENTIAL ELEMENTS QUIZ fiche emaiing note names before playing”a abaya ieitise 14 the student bots, The fist five notes eames: Concer f By D.C andingerngu/ge re positions. Students are asked to memorize EE TEACHING TIP. Move fingers/sides with steady chythm to help with accuracy Kybd.Perc, Use Alternate Sticking 14, ROLLING ALONG © Gotorrererig 9 oases40 Half Note ' o> =2 Beats Tare & teacuine Tie 15, RHYTHM RAP coop he: pazasege Ena Half Rest Se = 2 silent Beats tare Encourage students to practice this exercise with the play-along CD to internalize steady rhythm. rhythm while counting ond tapping. one eee eee pazesage Vareseae sit TEACHING TIP Askstudents if they've seen this rhythm before (Same as #15 Rhythm Rap) epee Sign V tereaase 16, THE HALF COUNTS ‘Al. Oboe/Al Hom prt are om ees Oboes onyMors ony poe. Percussion Bass Drum Alternate Sticking [hand to hand sticking pattern usually beginning with the tighthhandh. + hen playing half ites use soiver ste to pul te soend out ofthe bats dem. kybd.Perc, Combination Sticking A ticking pattern that combines both alternate and double sticking,a TEACHING TIP Remind students not to breathe after each half note 7. HOT CROSS BUNS Wis: Check yourembouchare and hend position. frase Try this song on your mouthpiece only. Then play ton your instrument. Breath Mark % ‘Teke a deep breath through your mouth after you play a fulHength note. , BE TEACHING TIP Encourage studentsto take a quick breath at each breath mark ‘American Fok Song 18. GO TELL AUNT RHODIE a2 Quiz ASSESSMENT Drawing notes on staf half notes,and quarter notes. 19, ESSENTIAL ELEMENTS QUIZ Using the note names and rhythms below, draw your notes onthe staf before playing.* i i f 7 7 9 @ 2 2 2 2 2g 32 7 3. 4 eee 6 8 8 ‘Percussion can ato d the writen quiz ‘At Oboe dan pare cre om ese Oboes nos oni pe3 Ere Whole Note: ‘Whole Rest WholeRest Half Rest _ AWhole Measure SS e & aaa ‘hangs from: sitsona Angeles ee ‘astaffline. ‘staff fine. JB vEACHING TIP countwith subdvison(1 826344.44t0 20. RHYTHM RAP Clap the rhythm while counting and tapping. 4e itt 1 Jt | Percussion : {utile bounce siekngs your rt step teaming he Multiple Bounce Simply let he stick bounce freely on the drum hendike hs: Moo d yb tt Keep count and malntaina sendy eo. ave half of the lass count and lap the Rhythm Rap (420) while the other half TEACHING TIP Sve thstine, Then switen Percussion Practice this exercise with Alternate ticking, 21, THE WHOLE THING ree : j ae = EE |S === : = a = wre ton | ie SSS = um, ; ? == = ro p= === = pee Saeeeeo nl i. Eas: ee 7 ; == = a. = _ Sects ==a ‘A.composition with two different parts played together: ie This duet emphasize the siifartyofastreams needed to ply whole note and 4 Z TEACHING TIP Ginerntcs Pace lines A 8 soporte. The vide te cess and ply a due, 22. SPLIT DECISION - Duet @ 8 ‘Al. boe/Al Horn prt or fom ese Oboes cniyHos ony pages Percussion Bass Drum When playing whole notes, use a very siow, ong stroke to pul the sound out. Play your percussion part as the brass and woodwinds play thelr“duet” parts.Key Signature The Keysignatur tls us which notes to pay wth sharps or fats) oushou the msc instruments = er BE Your key lane iniates the ey of pay al Bas Bats and all a5 ts instruments = ‘ourkey Signore negates he Key fino sharp oats j Esnstruments ge our ey Signature nats the Ke of ~ play als 35 sharps rom al.cboe GSE Yu teysome nts tetera , stave students sa the note names while performing the fingerings hythm Bracuine np fee es 23. MARCH STEPS a boa iy i t At.oboe/A.F Han got re om tse (Oboe ono on DOSE. . {sticking pattern that begins withthe lef hand Kyba.Pere, LeftHand Lead an eeps the left hand on strong beats.= TIT mus fully durin ueing entrances will help students Breacnine rip Sentsmust count carey 1g tests. Cueing entrances will help students to art together. 24, LISTEN TO OUR SECTIONS gens ° Pecesen Woodend tte recuse no rece tos Mt iit ape i r a i 7 PR som ais Obeeitt Hom part te fom este Oboes nos en pes B TEACHING TIP Teach thisexercise in segments to build endurance 25. LIGHTLY ROW 2 2 B 2 2 if itt " i r ii ze iy ‘tlt ioc,Ee a Qo. _ =e esi) Gontnue playinginthe same sve Hr igeight Hand teed QUIZ ASSESSMENT courting fraing ba ines wnle note hale key signature (Concer Ez 26. ESSENTIAL ELEMENTS QUIZ. onthe barnes eforeyo4 Po SSE = 7 = 2 SSS == = , , _| SS SSS aS 2 2S i == SSS SE ———=—= s no SSS ae =} ‘Se ve ee pees a ES |aaee Ee ree = “aps ; ve a aa ectn = igh stot sista einai Se ee | vo SE =e : = =. Fermata (A - Hold the note (orrest longer than normal: Percussion “Rudiments rudiments ae the basic techniques of paying nate drum. You shoul practice Beg land memorize rudiments o lnnprove your sl, The farsi ou est ruime f= Thesmal oe isarace ote thas yc lead sok of the regular sized, or pfimary:note. The primary note sounds onthe beat, Flam SF Hola lft stick about inches above the: te =Bg= inthe “up’ poston. Move both teks atthe Right Hand Flam E> hicthedrum jst before the ight ack. Let 44 Hold the ight stick about 2 inches above the dr the" posen, Move both leah hit theldrum just before theseft sticky bet a manips oc coomeO ‘Alam produces a sound thats sight longer than a regular note (2 t2p) “ isten tothe difference between flams and tabs. k [Ato cane a =" : =" oboe lane, cesh pe} oz 4 Bhewiaeae scene rotenone , ‘Terie, ete : ae 3 es | Eg of aga ek =) d = — owt 7 ™ a Ag G Gz A GS G5ee 48 JB TEACHING TIP ovng boss layers buz2siens on her mothe hp build range. AlLOboe Use the half-hole key on*D." Shoe @ ="tegularingering. Use the"regular fingering for" See student pase 48 to review this fingering. Bassoon Use the half-hole key on" ACE Horn Double Hor Plyes:adé the thumb key and use the Bs Hom fingering play"A Form Double Horn Plyes.ade the thumb key and use the Bb Hor Fingering forthe upper’D” 27, REACHING HIGHER = New Note frzcticeongtoneson coc ne not Fermato ® a oboent Hon pons are fom ete Oboes nos oni BODERTT) B TEACHING TIP Encourage brass players to increase airspeed as they approach the higher notes, Oboe ——_Use the “Yorked” fingering for all"Fn this exercise. The forked" fingering makes it easier to play F* ‘when moving to or from "Es" or'D." Kybd. Perc. Use Left Hand Lead. 28. AU CLAIRE DE LA LUNE French Folk Song 6 TEACHING TIP breathe only atthe breath marks 29. REMIXa ie tahconiatiom den BB TEACHING TIP racic ines A&8 sepa. Then dvide the cls and play a5 3 due percussion Markyour own ticking before you Pay. 30. LONDON BRIDGE - Duet a, 9.8 ® English Folk Song ‘Al oboe/ALF Hor portato Lette (bees oniems on eae.Em | Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who statted playing professionally at _ age sand lived during the time ofthe American Revolution. Mozart's musi is melodic and iniaginative. He wrote ore | than 600 compositions during his short if nelueling a plano piece based on the famous sone,/Twinkle Twinkle tle Star” TEACHING TIP sey note names while practicing fingerings in rhythm before playing Kybd.Pere, Use Double sticking, 31, A MOZART MELODY Adaptation f 1: Oboe/AF Ham parts ae rom Lf sis (Oboe ony Moms on age. ingle The triangle should be suspended on a clip andiheld at aye level, Use 2 metalzrangle Beater and hit the triangle opposite the open end. To stop the sournel,touch the iastrurtent with your fingers, Tsis the abbreviation for triangle.rawing symbols on staf (let time signature, repeat sign). note names, QUIZ ASSESSMENT frie Cone 92, ESSENTIAL ELEMENTS QUIZ *Draw these symbois where hey belong ond 6 > | 4 ‘arte in the note names before you play: 2 2 2 i it Per i r il . if A = percussion on alo do the writen a Tre SetR om parts aera Lid Oboes on Hs on De34 EU : Each Eighth Note or Rest = '/2 Beat 4 2 fi A Percussion, 2 Eighth Notes or Rests = 1 Beat ads Elghth Notes groups have a beam. Bohth Note v3 2note beam i '& Eighth Rest dd ie , nie As nempene om, (in a a oe : wo oe eS) asa Sd : iB & Fi de 4 Es AX A= se | aA Az ah 2 oe TEACHING TIP Pay the new note before paying this exercise 33, DEEP POCKETS - New Note l it At OboetA Hom prt re hom etsie Oboes onions on) poeB TEACHING TIP Practice meosues Sand sly 0 merove note ea Percussion Mark the sticking before you play. Kybd. Pere, Combination Sticking, 34, DOODLE ALL DAY seed ‘ar beta F Hom part are hom ese (boeson/Hams on eaetd ra? B TEACHING TIP students need to take a very quick breath atthe breath mark in measure 6. fn sussion Follow the Double Sticking carefully and strive for consistent sound, 35. JUMP ROPE o ® . i i Aa Pr i t fi ria i mh i BNE i f it are soo ‘Ai. bu/A Horn got re om eft-sie (Oboes ono nt page 4 a Percussion Doubling or —_Apattern in which two consecutive notes are played with the same hand (RRELARLL. Double Sticking Double Sticking. or Doubling Is an important skllfor snare drum, eeEa ey ‘One or more notes that come beforé the first fol measure, The beats of Pick-Up Notes are _ subtracted from the last measur. B reAcHING TIP conduct 3 preparatory beats and have students count and lp 4&1. oboe Use the“forkedtngering for a"in his exerci. 36. A-TISKET, A-TASKET 1 kup note 2 Oboe Hom parts aero ese Oboes niyo on pages 2 "it Percussion Rudiment Ft | Paradiddle 'A snare drum rudiment (see measure 72)Fran Dynami f- ~ forte (ply loudly) mf’ ~mezzoforte (play moderately loud) poe Go CS Remember to useful eathsupportte contol your tong at all dynamiclevls Encourage students to keep a steady beat as they clap and count at various BE reacuino me seme 37. LOUD AND SOFT Py di Be sure students play familiar melodies’as written’ ~ not as they remember & teacuine 1iP hearing them. 38. JINGLE BELLS —wws:Keep your fingers close tothe keys curved naturaly Brass: Also practice new music on your mouthpiece only. 4.5.Prespont 2 HE e i v i v A. bau. Hon prt re om ese (Oboes ono on page:ET Percussion Practice "Doubling" in ths exercise, 39. MY DREYDL use uti breath supporto al namic levels, Traditional Hanukkah Song 2 7 i of it aa i i SN (a if Hr BP i F AP a AR & Seed ¥ t “Oboe. F Hom pars are fom Lets (Oboes ono oa pagesu a i aad ae i i ee ee7 TA Eighth Notes jovd > = Eachtighth Note = 2 Beat ‘Two.ormore Eighth” _y Bean fase TT me Se Tf Ployondown and upto. $954 ccontesum 0 ee ce Bi reacuine rip Texts daprng exer ne mess at te counting and app the beats, 40. RHYTHM RAP ciop therhychm while counting and tapping, 1 OI jFt 44 Percussion Multiple Bounce Eighth Notes Special I j | ee Awa Aa a Ae - © Connect £2 so the botinces sound even and consent BE TEACHING TIP Have halfthe class count and tao while the other haf plays ~then switch, 41, EIGHTH NOTE JAM ie a pee3 SET FB VEACHING TIP Have students waite the counting fr exercise. Kybd. Pere, Use Alternate Sticking. 42. SKIP TO MY LOU io American Fol Sone af ‘ic Obo/th om pars are ram Lf side (Oboes onyHorns on panes “lei One single cenbal suepended on a stand. Always use yarn mallets not {impart malts Sus. Cym.is the abbreviation for suspended cymbal.“ 7 When students play soft dynamics, encourage them to use a steady alrsteam Breacuine np iene 43. LONG, LONG AGO. Good posture improves your sound, Always sit straight and tal, (onieae! 2 i HE ae fi if if ? ‘Al. Obcef Hom ports re om et side Oboeenbyome oni page. Percussion Wood Block (Ex44) Fiat woot bloc-the be sound toward ihe ee of fe topsuece nei es should usea hard rubber mallet or wooden xylophone male. A drumstick does not produce’ ‘on a flat wood block. We. Blk, s the abbreviation for wood bloc, 3Eas B TEACHING TIP review piccup notes before paying this exercise 44, OH, SUSANNA © Stephen Collins Fos:e" som, |. boe/A.F Hom peta fom ate Oboes niyo nb) pagesItalian composer Gloacchino Rossin! (1752-1868) began composing as @ teenager and was very proflent On the pan, © _ viola and horn, He wroté “William Tell” at age 37 as the last of his forty operas, and its familiar theme Is still ee touky, on ragio and television. B Quiz assesSSMENT eighth notes pickup notes, dynamic mf, f' breath mark, reading two lines of musi z 45, ESSENTIAL ELEMENTS QUIZ — WILLIAM TELL Gioacchino Rossini ‘Alc Oboe Hom pons ee ham Letsie Oboes ontyMorns ony nape