ESSENTIAI

GOIUIPREHENST\'E BAND IUIEÏHOD

TTflT
í.
LAUÌZENHEISER
d.-
.'OHlSíITGGTNS
GHARTES N'IENGHTNI
PAUL LAVENDER.
rolul G. RHODE|s
DON BTER.SGHENK

ZLF*L:Lao^Y4EP'
rHE BAgICg
Poslure
Sit on the edge of your chaiç and always keep your:
. Spine straight and tall
. Shoulders back and relaxed
. Feet flat on the floor

Brecrthing & Airstreclnr Ioking Gcrre OÍ

Breathing is a natural thing we all do constantly. To discover the correct Yôur lnslrument
airstream to play your instrument:
Before putting your instrument
. Place the palm of your hand near your mouth.
back in its case after playing, do
. lnhale deeply through the corners of your mouth, keeping your
the following:
.
shoulders steady. Your waist should expand like a balloon. . Remove the reed, wipe off ex-
Slowly whisper"too"as you gradually exhale air into your palm.
cess moisture and return it to
The air you feel is the airstream. lt produces sound through the instrument. the reed case.
Your tongue is like a faucet or valve that releases the airstream.
. Remove the mouthpiece and
wipe the inside with a clean
Producing ïhe Essentieil lone cloth. Once a week wash the
Your embou chure (ahm'-bah-shure) is your mouth's position on the mouthpiece with warm tap
mouthpiece of the instrument. A good embouchure takes time and effort, water. Dry thoroughly.
so carefully follow these steps for success: . Loosen the neck screw and
remove the neck. Shake out
REED PLACEMENT
. Put the thin end of the reed in your mouth to moisten it thoroughly.
excess moisture and dry the
. Looking at the flat side of the mouthpiece, the ligature screws extend to
neck with a neck cleaner.
. Drop the weight of a chamois
your right. Slide the ligature up with your thumb.
. Place the flat side of the reed against the mouthpiece under the ligature.
or cotton swab into the bell.
. Lower the ligature and position the reed so that only a hairline of the
Pull the swab through the
body several times. Return
mouthpiece can be seen above the reed.
. Gently tighten the ligature screws.
the instrument to its case.
. Your case is designed to hold
EMBOUCHURE only specific objects. lf you
. Moisten your lips and roll the lower lip over your bottom teeth. try to force anything else into
. Center the mouthpiece on your lips and place it in your mouth about the case, it may damage your
1/2inch. instrument.
. Place your upper teeth directly on the mouthpiece.The reed rests on
the lower lip over the teeth.
. Close your mouth around the mouthpiece,like a rubber band. Your
facial muscles all support and cushion your lips on the mouthpiece.
. Keep your chin down and slightly relaxed.

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

"ioq-"
I nEsr l,,Fl nEsr I
Getting lt Íogether
If you just played the MOUTHPIECE WORKOUT begin by carefully removing the reed. Otherwise, take the reed from its case.

Step I Carefully put the thin end of the

rnou th prece
reed in your mouth to moisten
thoroughly. Rub a small amount I
of cork grease on the neck cork
if needed. Clean hands.

Step 2 Hold the body of the saxophone

near its upper end and remove the ,a/
end plug. Loosen the neck screw
and gently twist the neck into the neck scnew
body. Be careful not to bend any
keys. Tighten the neck screw

Sfep 3 Carefully twist the mouthpiece on octove key

the neck so that approximately Ieft thumb
1/2 of the cork remains uncovered.
Place the reed on the mouthpiece
(see page 2).

Sfep 4 Place the neck strap around your

neck and attach the hook to the
ring on the back ofthe saxophone.
Adjust the length of the strap so
you can comfortably put the
mouthpiece in your mouth.
righr lhumb rest

Step 5 Place your right

thumb under the thumb rest. Put your left
thumb diagonally across the left thumb rest. Your fingers
should curve naturally. Hold the instrument as shown at left:

READING MUSIC ldentify and draw each of these symbols:

Music Sloff Ledser Meosures & Bqr Lines

ï"t Measure Measure

li -\
Bar Line Bar Line Bar Lìne

The music staff has 5 lines Ledger lines extend the music Bar lines divide the music staff
and 4 spaces where notes staff. Notes on ledger lines can into measures.
anrl rpçf< erc urrittpn he ehorre or helow the stafí
I. THE FIRST NOTE
l3 Hold each long tone until your teacher tells you to rest.
o
e v
KE) I
\=./
KEST
o
o
^o
t,
) To play"D," place your fingers on the keys as shown.

The Beof Nofes 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 a line or space of the music staff,and how long to play by
help us maintain a steady beat. Tap your foot down on each their shape. Rests tell us to count silent beats.
number and up on each "&."
I

Onebeat=l a ò QuarterNote = lbeat

J ï | QuarterRest = lsilentbeat

2. COUNT AND PIAY

AÃÃA Á\ 4\ .A\ -r
t
- t
-
Count: 1 &2 8,3&4& 1 &2 &3&4& I &2&3&4& 1 &2 &3& 4&
rap: JïJ'f J'f Jï J1Jf J1J'f Jf J'f J'f Jï JtJïJïJ'f

3. A NEW NOTE
0 g Look for the fingering diagram with each new note.
o
rì (c) c'ECT
í=)
^o
tJ

4. TWO's A TEAM

- - ú ?

Count&Tap: 1 &2 &3 & 4& 1 &2&3 &4& 1 &2&3 & 4 & 1 &2 &3 & 4 &

5. HEADING DOWN
0i Practice long tones on each new note.
o
o á\
\:/ ÍIEJ
,ZS
rtEJ
o \:7 !
o
eo

6. MOVING ON UP

í\Ã I
-

Count&Tap: 1 &2 &3&4& 1 &2 &3ç4& 1 &2 &3& 4& 1 &2&3 & 4 &
 Double Bqr : iïË::ff;ï|. Repeor sisn U:ï:ï:ï"i^3;:,;iffi:
7. THE LONG HAUL
0o
- Double Bar
o
õ -TA: líE) I (a)---; REST
o
eo
8. FOUR BY FOUR
Repeat Sign

Count&Tap:1&2&3
9. TOUCHDOWN
0o
o
to ,â\ nEJ t - -------- â\ \ t{E) I
\y 7
U
^o
EJ

I O. THE FAB FIVE

-\^
- - a

^Y E' a

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

Treble Clef Time Signofure Nole Nomes

(G Clef) indicates how many beats per measure Each note is on a line or space ofthe staff. These
indicates the and what kind of note gets one beat. note names are indicated by the Treble Clef.
position of note \/
names on a music - 4 beats per measure -i
-E
staff: Second line = Quarter note gets one beat
€
{ã
is G.

Shorp # raises the note and remains in effect for the entire measure.

Flqr b lowers the note and remains in effect for the entire measure.

NqtUfOl ! cancets a flat (b or sharp ($) and remains in effect for the entire measure.

I l. READING THE NOTES Comparethistoexercìse tL,THE FABFIVE.

1& 2 & 3 & 3&4&

12. FIRST FTIGHT

3. ESSENTIAI EtEtúENTS GIUIZ Filt in the remainins note names before ptoyins.

Ê
GAB
 Dlooo COo 0o
,:,oo A0o GOo
Notes ln Review a
-?- oro ----r-- v \-,/ -----r--- \J
_--r-- --õ-
-----r--- O
Memorize the fingerings
a ----T---- \-/
õ
ooo õ õ
for the notes you've learned:
eo eo eo eo eo
14. ROLLING ATONG
Go to the next line. 1

Double Bar 1

Holf Nofe Holf Rest

= Ì-Ì--
I

O1=2Beats = 2 Silent Beats

I

èè
1&2& 1&2&

I 5. RHYTHM RAP Ctap the rhythm while counting ond tapping.

CIop Repeat Sign

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

I ó. THE HATF COUNTS

1&2&3&4& 1&2a3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& l&2&3&4&

17. HOT CROSS BUNS Checkyourembouchureand handpositìon.

Breqth Mqrk ) Take a deep breath through your mouth after you play a full-length note.

I8. GO ÏEtt AUNT RHODIE American Folk Song

9. ESSENTIAT ETEMENTS GtUIZ lJsing the note names and rhythms below, draw your notes on the staff before playing.

n )))))) )))
CDCBCB AGA
 Whole Note Whole Rest Whole Rest Half Rest

A Whole Measure
O-----+> = 4 Beats of Silent Beats -È--.----- ----________L

1&2&3&4& 1&2&3&4& hangs from sits on a

a staff line. staff line.

20. RHYTHM RAP Ctap the rhythm while counting and tapping,
Clap

1a2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4&

21. THE WHOTE THING

1&2&3&4& 1&2a3&4& 1&2&3&4& 1&2&3&4& l&2&3&4& 1&2&3&4&

Duet A coúposition with two different parts, played together.

22. SPIIT DECISION - Duet

5!ïo*,," # The Key Signature tells us which notes to play with sharps
the music. Your Key Signature indicates the Key of G -
(#)
play all
"r
F's as
ffats
sharps.
(b) throughout

23. MARCH STEPS

) Play F*'s
24. TISTEN TO OUR SECTIONS
Percussion Woodwinds Brass Percussion Woodwinds Brass Perc. Ww. Brass All

25. TIGHTLY ROW

26. ESSENTIAT ELEMENTS GIUIZ Draw in the bar tines before you ptay.

4
 Fermqlq Hold the note (or rest) longer than normal.
^
27. REACHING HIGHER - New Nole
Practice long tones on each new note.
I I
o
o
-
o
eo
28. AU CTAIRE DE [A LUNE French Folk Song

29. REMIX

4
o
E Hormony Two or more notes played together. Each combination forms a chord.
-l-

30. TONDON BRIDGE - Duel English Folk Song

:I
4 Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who started playing professionally at
C'
ts
t6
age six, and lived during the time of the American Revolution. Mozart's music is melodic and imaginative. He wrote more
than 600 compositions during his short life, including a piano piece based on the famous song,"Twinkle,Twinkle, Little Star."
-

3I. A MOZART MELODY Adaptation

32. ESSENTIAI ETEMENTS QUIZ Drawthese symbobwherethey belons and

write in the note names before you play:
'll ft

n
33. DEEP POCKETS - New Note
0o

F#. ffi o
eo
o
!

34. DOODTE ALt DAY

35. JUMP ROPE

One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are
Pick-Up Notes subtracted from the last measure.

3ó. A-T|SKEï, A-TASKET

1 Pick-up note

4s' 1&2&3&4& 1&2&3

Dynomics f - forte (play loudly) nyf - mezzo forte (play moderately toud) 1t - piano (ptay softly)
Remember to use full breath support to control your tone at all dynamic levels.

37. IOUD AND SOFT

Clap

"f "tf
38. JINGTE BETTS Keep your fingers close to the keys, curved naturally. J. S. Pierpc

39. ÂrlY DREYDT tJse futt breath supporr at ail dynamic tevets. Traditional Hanukkah So
10

Eighth Notes
J-'* J*
l)
'l&
Each Eighth Note = 1/z Beat
2 Eighth Notes = 1 Beat
PIay on down and up taps.
,r:
1&2&
n Two or rpore Eighth
Notes have abeam
across the stems.
1 Beam

J1 .D =J-J-r:
40. RHYTHM RAP Ctap the rhythm while counting and tapping.

Clap

l&2&3a4&1&2&3&4& 1& &3&4& &2&3&4&

41. EIGHTH NOTE JAM

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

42. SKIP TO MY rou American Folk Song

"tf

43. [ONG, IONG AGO Good posture improves your sound. Always sit straight and tall.
,

44. OH. SUSANNA Stephen Collins Foster

>ãl Italian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very proficient on the piano,
€)
ts
:.71.1
viola and horn. He wrote "William Tell" at age 37 as the last of his forty operas]and its familiar theme is still heard today on
radio and television.
-E

45. ESSENTIAT ETEMENTS GIUIZ

- WIIIIAM TELL
Gioacchino Rossini

Ê
 p Time Signoture
4

# = il:LïïïïËiiïiï"'"..
,
Conducring
Practice conducting this
two-beat pattern.
{u
46. RHYTHM RAP
Clap

1&2& 1&2&

47. TWO BY TWO

Tempo is the speed of music. Tempo markings are usually written above the staff, in ltalian.
Tempo Morkings Allegro - Fast tempo Moderato - Medium tempo Andante - Slower walking tempo

48. HIGH SCHOOT CADETS - Mqrch

John Philip Sc
Allegro

f Reproduced by Permission ofBoosey & Hawkes lúusi. Publìsr

49. HEÍ HO! NOBODY'S HOME - New Note

0o Moderato
o
!o
o
^o

Dynomics
-
Crescendo (gradually louder) Decrescendo or Diminuendo (gradually softer)

50. CIAP THE DYNAMICS

CIap

5I . PIAY THE DYNAMICS

12

PERFORIì'IANCE SPOTTTGHT
52. PERFORMANCE WAR'ì/I.UPS
TONE BUILDER

RHYTHM ETUDE

p
-mí
53. AURA LEE - Duet or Bqnd Arrongement
(Part A = Melody, Part B = Harmony)
Andante George R. Poulton

aryf - p
Art I

â
-p
aryf I

-_ p
"f "tf
AlJ lr A

- f ----...---,f p

54. FRÈRE JACQUES - Round (when sroupAreaches@,groupBbeginsat@)

Moderato
c French Folk Song

f
 PERFORTNANCE SPOTHOHT
55. WHEN THE SAINTS GO MARCHING lN - Bond Ariongement
Arr. by John Higgi
Allegro E -, Measure number

*!f
E

"f @

5ó. OtD MACDONALD HAD A BAND - Section Feqture

Allegro

rnf
E 2nd time go on to meas. 13

f p
E
(

"f
57. ODE TO JOY (from Symphony No. 9) Ludwig van Beethov
Arr. by John Higgi
Moderato

,lf

58. HARD ROCK BLUES - Encore

AlÌegro
14

A curved line connecting notes of the same pitch. Play

lre one note for the combined counts of the tied notes. = 2 Beats

59. FIT TO BE TIED

2 beats \

óO. ATOUETTE French-Canadian Folk Song

Dotted Holf Note

I

). + =3Beats ò. <
I

Dot ).._,) )
1&2&3& A dot adds halfthe value ofthe note. 2beats+lbeat 3 beats

óI. AIOUETTE. THE SEGTUET French-Canadian Folk Song

4 American composer Stephen Collins Foster (1826-1864) was born near Pittsburgh, PA. He has become the most recognized
cF song writer of his time for works such as"Oh Susanna,"which became popular during the California Gold Rush of 1849.
5
I Among his most well-known songs are"My Old Kentucky Home"and "Camptown Races."
-
62. CAIì'IPTOWN RACES Stephen Collins Foster
Allegro

,f
ó3. NEW DIRECTIONS - New Note
0o
a
!o
o
D
^o
tJ

64. THE NOBTES Always use a full airstream. Keep fingers above the keys, curved naturally.

3 beats )

ó5. ESSENTIAT ETEMENTS GTUIZ

n
 3 Time Sig nqlure
4

66. RHYTHM RAP

# 3 beats per measure
Quarter note gets one beat
Conducfing
fractice conducting this
three-beat pattern. N
---t---->

Clap

1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3& &2,&3& 1&2a3a 1&2&3&

67. THREE BEAT JAM

1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3& 1&2&3s

ó8. BARCAROTTE
Jacques Offenba
Moderato

*!f -
Norwegian composeÍ Edvard Grieg (1843-1907) wrote Peer Gynt Suite for a play by Henrik lbsen in 1875, the year
before the telephone was invented by Alexander Graham Bell. "Morning" is a melody from Peer Gynt Suite. Music
used in plays, or in films and television, is called incidental music.

69. MORNING (from Peer Gynt) Edvard Gri

Accent J Emphasize the note.

70. ACCENT YOUR TATENT

Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diverse
music features lively accompaniments by drums and other percussion instruments such as maracas and. claves.
Music from Latin America continues to influence jazz, classical and popular styles of music. "Chiapanecas" is a
popular children's dance and game song.

71. MEXICAN CTAPPING SONG ("Chioponecqs'/) Latin American Folk So

72. ESSENTIAL CREATIVITY Compose your own music for measure s 3 and 4 using this rhythm:

)J rTT) Ittò ò

Ê
16

É
o Accidentol Nqturql h
EI Any sharp,flat or natural sign which appears in the music A natural sign cancels a flat ib) or sharp (#)
-lr without being in the key signature is called an accidental. and remains in effect for the entire measure.

73. HOT MUFFINS - Nevv Note

0o 1 Natural opplies to all F's in measure.
o
o
-
o
^o
H

74. COSSACK DANCE

Allegro

f
75. BASIC BLUES - New Note
lo Natural applies to all
I
F's ìn measure.
o
a
-
eo

É
o
g New Key Signoture I sf & 2nd Endings
-l- This Key Signature indicates the Play through the 1st Ending. Then play the repeated section
Key of C (no sharps or flats). of music, skipping the 1st Ending and playing the 2nd Ending.

76. HIGH FLYING

Moderato

2nd
-
ttme
+ t
q! Japanese folk music actually has its origins in ancient China. "Sakura, Sakura"was performed on instruments such as
o
F the koto, a 13-string instrument that is more than 4000 years old, and the shakuhachi or bamboo flute. The unique
5
sound of this ancient Japanese melody results from the pentatonic (or five-note) sequence used in this tonal system.
--

77. SAKURA, SAKURA - Bqnd Arrongemeni Japanese Folk Song

Arr. by John Higgins
Andante
78. UP ON A HOUSETOP
AIIegro

Key Signature

79. JOTLY OID ST. NICK

Moderato
- Duet
mE
A

*tf
See page 9 for addìtional holidoy music, MY DREYDL and JINGLE BELLS.

80. THE BIG AIRSTREAM - New Note

lo
o
!o
G o IG
eo
8t. wAtTz THEME (THE MERRY WTDOW WAlrZI
Moderato

*!f O Glocken Verìâg Ltd., Lr

Reproduced by Pertr

82. AIR TIME

83. DOWN BY THE STATION

Allegro

"!f
84. ESSENTIAL ETEMENTS GIUIZ

n
85. ESSENTIAL CREATMTY using these notes, improvise your own rhythms:

Ê
18

nDAItY wARM-uPs WORK-OUTS FOR TONE &TECHNIQUE

8ó. TONE BUITDER tJseasteadystreamofair.

87. RHYTHM BUILDER

88. TECHNIGIUE TRAK Rollyour thumb up to the octave key. Always keep your thumb on the left thumb key.

89. CHORATE (Adapted from Cantata 147) Johann Sebastian Bach

---
ÊÊ
o
tat Theme ond Vqriotions A musical form featuring a theme, or primary melody,
followed by variations, or altered versions of the theme.
-lr

90. VARIATIONS ON A FAMITIAR THEIYIE

Theme Variation 1

Variation 2

At the D.C. al Fine play again from the beginning, stopping at Fine (fee'- nay).
D.C. ol Fine D.C. is the abbreviation for Da Capo, or "to the beginning," and Fine means "the end."

D.C. al Fine
 A sharp sign raises the pitch of a note by a half-step. The note C-sharp sounds a half-step
Shorp ll+l above C, and all C's become C-sharps for the rest of the measure where they occur.

92. RA;ZOR'S EDGE - New Note

0o
(J

c# U
a\
..O
-
93. THE MUSIC BOX
Moderato

African-American spirituals originated in the 1700's, midway through the period of slavery in the United States.
One of the largest categories of true American folk music,these primarily religious songs were sung and passed on
for generations without being written down. The first collection of spirituals was published in 1867, four years after
The Emancipation Proclamation was signed into law.

94. EZEKIET sAW THE WHEET African-American Spirit

Allegro

Slur A curved line which connects notes of different pitch. Tongue only the first note in a slur.

95. S'YIOOTH OPERATOR

) Slur 2 notes - tongue only the first.

96. GLIDING ATONG

J Slur 4 notes - tongue only the first.

Ragtime is an American music style that was popular from the 1890's until the time of World War l. This early form of
jazz brought fame to pianists like "Jelly Roll" Morton and Scott Joplin, who wrote "The Entertainer" and "Maple Leaf Rag.',
Surprisingly, the style was incorporated into some orchestral music by lgor Stravihsky and Claude Debussy.
The trombones now learn to play a glissando, a technique used in ragtime and other styles of music.

97. TROMBONE RAG

Allegro F IF-=

gg. ESSENTIAT ETEMENTS QUIZ

Andante
D.C. al Fi

n
20

99. - New Nofe

ãre
TAKE THE LEAD
lo
F#,
?#
e Ch

È!
o
E Phrqse A musical "sentence" which is often 2 or 4 measures long. Try to play a phrase in one breath.
-h
I OO. THE COID WIND

--.--..--.-..-.--.--.-."--?
,!f
I OI. PHRASEOTOGY Write in the breath mark(s) between the phrases.

New Key Signoture Mulriple Meosure Rest ,

4
o
E
This Key Signature
indicates the Key of D - play
The number above the staff tells you -
how many full measures to rest.
-l- all F's and C's as sharps. Count each measure of rest in sequence:
l-z-z-q 2-z-s-q

l02. SATIN TATIN

German composer Johann Sebastian Bach (1685-1 750) was part of a large family of famous musicians and
4
o
I.r
became the most recognized composer of the Baroque era. Beginning as a choir member, Bach soon became
2 an organist, a teacher, and a prolific composer, writing more than 600 masterworks. This Minuet,or dance in
3/4lime, was written as a teaching piece for use with an early form of the piano.

I 03. tì,llNUET - Duet Johann Sebastian Bach

Moderato
/t
AIH

I 04. ESSENTIAI CREATIVITY This melody can be ptayed in 3/4 or 4/4. Pencít ìn either time signoture, draw the bar tines and
play. Now erase the bar lines and try the other time signature. Do the phrases sound different?

E
I05. NATURAIIY

Austrian composer Franz Peter Schubert (1797-1828) lived a shorter life than any other great composeí but he
created an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment), ten
symphonies, chamber music, operas, choral works and piano pieces. His "March Militaire" was originaliy a piano duet.

I Oó. MARCH MITITAIRE

Allegro Í

A flat sign lowers the pitch of a note by a half-step. The note B-flat sounds a half-step
FIof below B, and all B's become B-flats for the rest of the measure where they occur.

lO7. THE FLAT ZONE - New Note

0o

Br €:':
-õ- lo
eo
V

I 08. ON TOP OF OtD SMOKEY

Allegro

Boogie-woogie is a style of the blues, and it was first recorded by pianist Clarence "pine Top" Smith in 192g,
one year after Charles Lindbergh's solo flight across the Atlantic. A form of jazz,blues music features altered
notes and is usually written in 12-measure verses, like "Bottom Bass Boogie.,,

I 09. BOTTOTVI BASS BOOGIE - Duef

Allegro

I
llt-
>-
aJl L I
ll r-rtl
Àt )
22

Dotfed Gluqrfer A dot adds half I

J.___*J
\< A single eighth
& Eighth Notes J. t)=zs""t, lrrev-a]ugortrre
quarter note.
J
-_)
-
-r ) a ) note has a
on the stem.
flag
1&2& 1&2&

I IO. RHYTHM RAP

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

I I I. THE DOT ALWAYS COUNTS

1&2&3a4&1&2&3a4& 1&2&3&4& 1&2&3&4&

II2. Att THROUGH THE NIGHT

"f
I 1 3. SEA CHANTY Always use a full airstream. English Folk Song

I 14. SCARBOROUGH FAIR English Folk Song

Andante

I 15. RHYTHM RAP

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

I I ó. THE TURNAROUND

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

scottish Folk song

 PERFORTNANCE SPOTLTGHT
You can perform this solo with or without a piano accompanist. Play it for the band, the school
Solo with Piono your family. lt is part of symphony No.9 ("From The New world") by czech composer Anton
Accompqnimenf Dvorák (1841-1904). He wrote it whilevisiting America in 1893, and was inspired to include
melodies from American folksongs and spirituals. This is the Largo (or"very slow tempo") then

I I8. THEME FROM "NEW WORTD SYMPHONY"

Antonin Dvr
E--,

l29l slo*""

Piano Accompaniment
--

lã'l sto*".
24

Great musicians give encouragement to fellow performers. On this page, clarìnetists leorn their instruments' upper
register in the "Grenadilla Gorilla Jumps" (named after the grenodilla wood used to make clarìnets). Brass players
learn lip slurs, a new warm-up pattern. The success of your band depends on everyone's effort and encouragemenL

I 19. GRENADIIIA GORIIIA JUMP No. I

I2O. JUMPIN' UP AND DOWN

l2l. GRENADITTA GORILIA JUMP No. 2 - New Nofe

lo /'-à aì
A Ëã
-è

I22. JUMPIN' FOR JOY

/-ì
1r
-ì

123. GRENADILTA GORILLA JUÂ,IP No. 3

It at
(

I24. JUIúPIN'JACKS

The distance between two pitches is an interval. Starting with " l " on the lower note, count each line
lnfervql and space between the notes. The number of the higher note is the distance of the interval.
4 4th-r 5th-r 6th-r 7th-'r
o
E
2nd
-r 3rd octave

-l- -t

{> {>

125. ESSENTIAI ETEMENTS QUIZ Write in the numbers of the intervals, counting up from the lower notes.

n Intervals: t 2nd t
126. GRENADILIA GORlttA JUMP No. 4
lr

127. THREE IS THE COUNT

128. GRENADILIA GORIIIA JUMP No. 5

t 30. cRosstNc ovER

A trio is a composition with three parts played together. Practice

Trio this trio with two other players and listen for the 3-part harmony.

l3l. KUM BAH YAH - Trio Always check the key signature.
African Folk Son
Moderato

==-> p
26

Repeat the section of music enclosed by the repeat signs.

Repeof Signs (lf I st and 2nd endings are used, they are played as usual but
-
go back only to the first repeat sign, not to the beginning.)

132. MICHAEL ROW THE BOAT ASHORE African-American Spiritual

I r. llz
^
-
I33. AUSTRIAN WATTZ
Moderato

I34. BOTANY BAY

Allegro

,!f
C Time Signoture Conducting
É \
o
g
-ts F =:,:ïïï4;-" Practice conducting
this four-beat pattern.

I 35. TECHNIGTUE TRAK Practice at alldynamic levels.

I3ó. FINTANDIA
Jean Sibelius

p _--
@ Br€itkopf& Haenel,Wiesbaden - Leipzig

137. ESSENTIAT CREATIVITY

Create your own varìations by penciling in a dot and a flag to change the rhythm of any measure from ll ) l.lJ Jl

G
I38. EASY GORILIA JUMPS

I 39. TECHNIGIUE TRAX Always checkthe key signature.

I4O. MORE TECHNIGIUE TRAX

I4I. GERMAN FOIK SONG

Moderato Ir. llz

"If
142. THE SAINTS GO MARCHIN'AGAIN
James Black and Katherine Purr
Allegro

t43. towtAND GORtLtÁ WAIK

0o
o
OQ
lo
00
ÂA ÂA
eo Use alternate C fìngering Use alternate C fingering

144. Stì,looTH sAtuNG

I45. MORE GORITLA JUMPS

146. FUtt COVERAGE

& Use alternote C fingering

28

É A scale is a sequence of notes in ascending or descending order. Like a musical"ladder,"

o
II Scqle each step is the next consecutive note in the key. This scale is in your Key of G (one sharp),
-h so the top and bottom notes are both G's. The interval between the G's is an octave.

147. CONCERT Bb SCATE (AIto Soxophone - G SCALE)

Scale Octave
Steps: 4

4 Chord & When two or more notes are played together, they form a chord or harmony. This G chord is
C) built from the 1st,3rd and 5th steps of the G scale. The 8th step is the same as the 1st, but it is an
E
I

-h Arpeggio octave higher. An arpeggio is a"broken"chord whose notes are played individually.

I 48. lN HARMONY Divide the notes of the chords between band members and play together. Does the arpeggio sound like a chord?
f- Arpeggio--------1 l-- Ar p o ----------1 eg gi
13531

149. SCATE AND ARPEGGIO

Scale

Austrian composer Franz Josef Haydn (1732-1809) wrote 104 symphonies. Many of these works had nicknames
aÊ
C' and included brilliant, unique effects for their time. His Symphony No.94 was named "The Surprise Symphony"
1-
tâ because the soft second movement included a sudden loud dynamic, intended to wake up an often sleepy
- audience. Pay special attention to dynamics when you play this famous theme.

I50. THEME FROM "SURPRISE SYMPHONY"

Andante

l5l. ESSENTIAT ETEMENTS GIUIZ . THE STREETS OF LAREDO American Folk Song
Write in the note names before you play.

n
 PERFORMANCE SPOTLIGHT
152. SCHOOT SPIRIT - Bqnd Arrongemenf W.T. Pun
March Style Arr. by John Higgir
E --.r Measure Number

-f
When playing music marked Soli, you are part of a group "solo" or group feature. Listen carefully in
Soli "Carnival of Venice,"and name the instruments that play the Soli part at each indicated measure number.

153. CARNIVAL OF VENICE - Bond Arrongement Julius Benedir

Arr. by John Higgir
Allegro
7
30

nDArtY wARM-uPg WORK-OUTS FOR TONE &TECHNIQUE

I54. RANGE AND FLEXIBILITY BUILDER

I55. TECHNIGTUE TRAX

t 5ó. cHoRAtE Johann Sebastian Bach

-p
4 The traditional Hebrew melody"Hatikvah"has been lsrael's national anthem since the nation's inception.
€) At the Declaration of State in 1948,it was sung by the gathered assembly during the opening ceremony
F
I and played by members of the Palestine Symphony Orchestra at its conclusion.

lsraeli National Anthem

*f
E
 Eighth Note l,
ò|= 112 beat of sound
fTJ;' J-J-J-]
& Eighth Rest '/ = 112 beat of silence Jt
1&2&
Jt 7)r)
1&2&

I58. RHYTHM RAP

1&2&1&2&l&2& 1 & 2 & 1 & 2 & 1 & '2 & 1 & 2 & 1 &2 &

I59. EIGHTH NOTE MARCH

1&2& 1&2& 1&2&l&2&1&2&1&2& t&2&1&2&

I óO. MINUET Johann Sebastian Bar

IóI. RHYTHM RAP

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

162. EIGHTH NOTES OFF THE BEAT

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

I ó3. EIGHTH NOTE SCRAMBTE

164. ESSENTIAT ETEMENTS GIUIZ

Andante

n IL

p f
"tf
32

I ó5. DANCING METODY - New Nofe

lo
a
o
Eb o
o
co
American composer and conductor John Philip Sousa (1854-1932) wrote 1 36 marches. Known as "The March King,"
ãÊ
C) Sousa wrote The Stars And Stripes Forever, Semper Fidelis,The Washington Post and many other patriotic works. Sousa's
F. band performed all over the country, and his fame helped boost the popularity of bands in America. Here is a melody
5
--
I
from his famous El Capitan operetta and march.

166. Et CAPITAN
John Philip Sousa
Allegro

e
o "O Canada,"formerly known as the"National Song,"was first performed during 1880 in French Canada. Robert
F Stanley Weir translated the English language version in 1908, but it was not adopted as the national anthem of
5
Canada until t 980, one hundred years after its premiere.
--

167. O CANADA Calixa Lavallee,

l'Hon.Judge Routhier
Maestoso (Majesticatly) and Justice R.S.Weir

-nf

tr--

-mf

I ó8. ESSENTIAI ETEMENTS QUIZ - METER MANIA count and ctap before ptayins. can you conduct this?

n
 DiandEb AilandBb
Enhqrmonics VV
I
Two notes that are written differently, but sound On a piano keyboard, e\ch ti
the same (and played with the same fingering) are black key is both a flat and €
called enharmonics. Your fingering chart on pages a sharp: t
46-47 shows the fingerings for the enharmonic
notes on your instÍument.
C D E F GIA B c

169. SNAKE CHARMER Enharmonic notes use the same fingering.

Eb/D#

I7O.
#
DARK SHADOWS
lo
o
o
o
o
co

\ Pick-up note

l7l. CTOSE ENCOUNTERS Enharmonicnotesusethesamefìngering.

0o

Bb/^# ffiF
^o
^o
t,

172. MARCH SIAV Peter I llyich Tchaikovsl

Largo

173. NOTES tN D|SGU|SE

I
Chromatic notes are altered with sharps, flats and natural signs which are not in the
€hromqlic key signature. The smallest dístance between two notes is a half-step, and a scale made
I
ll
Notes up of consecutive half-steps is called a chromatic scale.
C
)
I

I74. HALF.STEPPIN'
lo
o
!o
F#
Alternate
o!
fingering e- Fi Alternate fingering
34

4 French composer Camille Saint-Saëns (1835-1921) wrote music for virtually every medium: operas, suites,
C'
ts
5
symphonies and chamber works. The "Egyptian Dance" is one of the main themes from his famous opera
Samson et Delilah. The opera was written in the same year that Thomas Edison invented the phonograph-1877.
--

175. EGYPTIAN DANCE Watchforenharmonics.

Camille Saint-Saëns
Allegro

mf,

( ll

I Fil Á/r.

ìr

176. STwER MOON BOAT

Largo

German composer Ludwig van Beethoven (1770-1827) is considered to be one of the world's greatest composers,
eÊ
o
lr
despite becoming completely deaf in 1802. Although he could not hear his music the way we can, he could "hear" it
5 in his mind. As a testament to his greatness, his Symphony No.9 (p. 13) was performed as the finale to the ceremony
-- celebrating the reunification of Germany in 1990. This is the theme from his Symphony No.7, second movement.

177. THEME FROM SYMPHONY NO. 7 - Duet Ludwig van Beethoven

Allegro (moderately fast)

A ffi
up
A

B
 3

Russian composer Peter lllyich Tchaikovsky (1840-1893) wrote six symphonies and hundreds of other works including T
I
The Nutcracker ballet. He was a master at writing brilliant settings of folk music, and his original melodies are among thã v.
most popular of all time. His l812 Overture and Capriccio ltalien were both written in 1880, the year after Thomas Edison -C
developed the practical electric light bulb.
'l

178. CAPRICCIO lTAtlEN Atwayscheckthe key sisnature. Peter lllyich Tchaikovsl

t,

179. AMERICAN PATROL

F.W. Meachar
Allegro

I8O. WAYFARING STRANGER

Africa n-American Spiritur

81. ESSENTIAI EIEMENTS GIUIZ - SCATE COUNTING CONQUEST

n
36

PERFORNilANCE SPOTLIOHT
182. AMERICA THE BEAUTIFUL - Bond Arrongement SamuelA.Ward
Arr. by John Higgins
Maestoso

--
"f

"f'
183. LA CUCARACHA - Bond Arrongement Latin American Folk Song
Latin Rock Arr. by John Higgins

;"--l

-P
 31

PERFORMANCE SPOÍIIOHT
I 84. THEIúE FROÍvl t 8l 2 OVERTURE - Bond Arrongemênt Peter lllyich Tchaikovsky
Arr. by John Higgins

-f
-?
@
(

=
-nf
38

PERFORTNANCE SPOÍITGHI
soro with piqno i:':";:;:;:;,?:ïflïï',1Ïi:',i:,l:ïìs'.?ïï:,i:ï:i"'-",ï.liü;ï,,ï;;i il:,ï::ïïi:"":ÍÍ"
ACCOmpqnimenf Mozart wrote this piece in 1787,the same year the American Constitution was signed into law. You and
a piano accompanist can perform this for the band or at other school and community events.

185. EINE KIEINE NACHTMUSIK - Solo (ConcertEbver sion) Wolfgang Amadeus Mozart
Arr. by John Higgins
E
Alto Sax

e-/r-+i _____./
m:I

r r
 39

DUETS
Here is an opportunity to get together with a friend and enjoy playing rpusic. The other player does not have to play
the same ínstrument as you. Try to exactly match each other's rhythm, pitch and tone qualiiy. Eventually, it may àegin
to sound like the two parts are being played by one person! Lateç try switching parts.

I 8ó. SWING tOW SWEET CHARIOT - Duet

Andante Africa n-America n Spiritual

A
aJ-
,-. ta "tf
^)t)
B

187. tA BAMBA - Duet

Allegro Mexican Folk Song

A
40

RUBANK'SCATE AND ARPEOCTO TUDTES

AtïO SAXOPHONE KEY OF O IGONGERT Bbl tnthiskeysisnature,ptayattFï's.
l.

3.

4.

AlrO SAXOPHONE KEY OF C IGONGERT Ebl

l.

2.
at

3.
 41

RUBANK'gCAtE AND ARPEOOTO STUDIES

ALïO SAXOPHONE KEY OF D |GONGERT Fl tnthist<eysisnature,ptayattFt'sandcü's.
l.

3.

AITO 3AXOPHONE KEY OF F IGONCERï Abl tnthiskeysisnature,ptayattBb's.

l.

3.

4.
42

ffiRHYrHlr sÍuDrEs
 4:

ÊnnYrHl,I sruDrEs
44

cREAtÍlNO tì'luglc
Composition is the art of writing original music.'A composer often begins by creating a melody
ÊÉ
made up of individual phrases, like short musical"sentences." Some melodies have phrases that seem
C'
E Gomposition to answer or respond to'Question" phrases, as in Beethoven's OdeTo Joy. Play this melody and listen
--l- to how phrases 2 and 4 give slightly different answers to the same question (phrases 1 and 3).

l. ODE TO JOY Ludwig van Beethoven

l.Question 2.Answer 3.Question 4.Answer

2. Gl. AND A. Writeyour own"answer"phrases in this melody.

l.Question 2.Answer

3.Question 4.Answer

3. PHRASE BUILDERS write 4 different phrases using the rhythms below each staff.

.- ) f) ,rT-Ïl )

)) n) rTT) J

4. YOU NAME IT:

Pick phrase A, B, C, or D from above, and write it as the "Question" for phrases 1 and 3 below. Then write 2 different "Answers" for phrases 2 and 4,

l.Question 2.Answer

gl lmprovisation is the art of freely creating your own

o
g lmprovisqtion melody as you ploy. Use these notes to play your own
I
t- melody (Line A), to go with the accompaniment (Line B).
l-

5. INSTANT METODY

AI
AJ

^ü
B
 4l

Y, .un mark your progress through the book on this page. Fill in the stars as instructed by your band director.

IEVER

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

2. Page 5, EE Quiz, No. 13 16. Page 23, Performance Spotlight
3. Page 6, EE Quiz, No. 19 17. Page 24, EE Quiz, No. 125
.4. Page 7, EE Quiz, No.26 18. Page 26, Essential Creativity, No. 137
5. Page B, EE Quiz, No.32 19. Page 28, No. 1 49
6. Page 10, EE Quiz, No.45 20. Page 28, EE Quiz, No. 151
7. Page 12-13, Performance Spotlight 21. Page 29, Performance Spotlight
B. Page 14, EE Quiz, No.65 22. Page 31, EE Quiz, No.164
9. Page 15, Essential Creativity, No.72 23. Page 32, EE Quiz, No. 168
10. Page 17,EEQuiz,No.84 24. Page 33, No. 1 74
11. Page 17, Essential Creativity, No. 85 25. Page 35, EE Quiz, No. 181
't2. Page 19, EE Quiz, No.98 26. Page 36, Performance Spotlight
13. Page 20, Essential Creativity, No. 104 27. Page 37, Performance Spotlight
14. Page 21, No. 1 09 28. Page 38, Performance Spotlight

ilTUSIC I AN ESSENTTAT ELCN'IENT OF IIFE

46

FTNGERINO CHAR| Eb AtÏO SAXOPHONE

Instrument Geire R.eminders

Before putting your instrument back in its case
after playing, do the following:
. Remove the reed, wipe off excess moisture and
return it to the reed case.
. Remove the mouthpiece and wipe the inside
with a clean cloth. Once a week, wash the
mouthpiece with warm tap water. Dry
thoroughly.
. Loosen the neck screw and remove the neck.
Shake out excess moisture and dry the neck
with a neck cleaner. o
. Drop the weight of a chamois or cotton swab o
into the bell. Pull the swab through the body
o
several times. Return the instrument to its case.
. Your case is designed to hold only specific
objects. lf you try to force anything else into
the case, it may damage your instrument.

o
o = Open o
o = Pressed down _t-
The most common fingering appears
first when two fingerings are shown.

lnstrument courtesy of Yamaha

Corporation of America, Band
and Orchestral Division

Af

#:"
Bb 0o 0o 0o
o o o
Oo
-!J !e to
o o
d4=bo rt
o
r-o ^o
U
^o
O
=

0o Df Eb 0o 0o
o o o
to !o !o
o o a
a)
^o
tJ CO e-

F F 0o
o
!o
o
Ffi Gb 0o
oo
oo
0o

oot-
!oQ
êu êu
0o
o
to
oo
o
 4"

FINOERINO CHARÍ Eb A1ÍO SAXOPHONE

F A 0o
o
a
a)
TJ

eo
Af, Bb of oE 0?
nOOO o'õ
õõ "'-
tooo
eo eo eo

ffiF
^
dx
B oo

IJ
F c oe
oo 0o
OnO
õo'õõ
o00
eo eo
c# Db 0o

eo
a
o
rì

F} Df Eb lo

CO
o
o
o
o Fj
Fj +Ë,ÊLtzt!
F"3sã
lo A
o
lo
o
loooo
lo lo.
Orçt rì nOOO
Ou/ õ ot
õo "''- õ
o Ë o tooo
eo eo eo eo eo

F
c
lo
o
+ loaolo lo
o OnO o
o
(.-/
o"'iõ
o00 =
(t

eo eo eo eo

F
E F
(cì
f.n + t
Cì
gr,
õ;l
o"
õ E3".'3
'â 'g!,
E3",3
'!
000 000
^o eo eo eo oo
48

n REFER,ENCE INDEX
DeÍinifionc tpg.r Slur 19 World Music
Accent 1 5 Soli 29 AFRICAN
Accidental 16 Solo 23,38 . Kum BahYah 25
Allegro 11 Tempo 11
AMERICAN
Andante 1 1
Theme And Variations 18 . American Patrol 35
Arpeggio 28 Tie 14 . America The Beautiful 36
Clef 5 Time Signature 5 .,
Bass (Bass clef inst.)
Aura Lee 12
BarLines 3 Treble Clef
5 (Treble clef inst.) . EzekielSawTheWheel 19
Beat 4 Trio 25
. GoTellAunt Rhodie 6
Blues 21 Whole Note 7
. Michael Row The Boat Ashore 26
Breath Mark 6 GomposeÍs . On Top Of Old Smokey 21
Chord 28 . SkipTo My Lou10
JOHANN SEBASTIAN BACH
Chromatic Notes 33 .
. Chorale (from Cantata 147) 18 Swing Low, Sweet Chariot 39
Chromatic Scale 33 .
Common Time 26
. Chorale 30 The Streets Of Laredo 28
. Minuet 20 . Wayfaring Stranger 35
Crescendo 1
.
D.C. al Fine 18
1
. Minuet 3'l WhenThe Saints Go Marching ln
LUDWIG VAN BEETHOVEN
13,27
Decrescendo 1 1

Diminuendo 11 . OdeToJoy(fromSYm.No.9) 13 AUSTRALIAN

Dotted Half Note 14 . Theme From SymPhony No.7 34

. Botany Bay 26

Dotted Quarter Note 22 JOHANNES BRAHMS AUSTRIAN

Double Bar 5 . Theme From Sym. No. 1 38 . Austrian waltz 26

Duet 7 (Brass & LowWW's) CANADIAN
Dynamics 9 ANTONIN DVORÁK . Alouette 14
Eighth Note 10 . Theme From "New World Sym." 23 . O Canada 32
Eighth Rest 31 STEPHEN COLLINS FOSTER CARIBBEAN
Embouchure 2 (Brass&WW's) . Camptown Races 14 . Banana Boat Song 18
Enharmonics 33 . Oh, Susanna i0 CHINESE
Fermata 8 EDVARD GRIEG
. Silver Moon Boat 34
1 st & 2nd Endings 16 . Morning (from Peer Gynt) 15 ENGLISH
Flat 5
FRANZ JOSEF HAYDN
. London Bridge 8
Forte ("f) 9
. . Scarborough Fair 22
Theme From "Surprise SymPhonY" 28
Glissando 19 (Trombone)
. Sea Chanty 22
FRANZ LEHAR
Half Note 6
.
Half-step 33 WaltzTheme 17 FRENCH
. Au Claire De La Lune 8
Harmony I WOLFGANG AMADEUS MOZART
.
lnterval 24
.A Mozart Melody 8 Frère,Jacques 12

Key Signature 7
. Eine Kleine Nachtmusik 38 GERMAN

Largo 23 (HighWW's) . German Folk Song 27

Ledger Lines 3 JACQUÊS OFFENBACH ISRAELI

Measure 3 . Barcarolle 15 . Hatikva 30

Mezzo Forte ('/) 9 GIOACCHINO ROSSINI ITALIAN
Moderato 11 . WilliamTell 10 . CarnivalOf Venice 29
Multiple Measure Rest 20 CAMILLE SAINT-SAËNS JAPANESE
Music Staff 3 . Egyptian Dance 34 . Sakura,Sakura 16
NaturalSign 5
FRANZ SCHUBERT MEXICAN
Notes 4 . March Militaire 21
. Chiapanecas 15
Phrase 20
JEAN SIBELIUS
. La Bamba 39
Piano (p) 9
. . La Cucaracha 36
Finlandia 26
Pick-Up Notes 9
SCOTTISH
JOHN PHILIP SOUSA
Quarter Note 4
. . Auld Lang Syne 22
Ragtime 19
ElCapitan 32
Repeat Sign 5,26
. High School Cadets 11 TRADITIONAL HOLIDAY MUSIC
PETER ILLYICH TCHAIKOVSKY
. Jingle Bells 9
Rests 4,6,7,31 .
. Capriccio ltalien 35 Jolly Old 5t. Nick 17
Round (Canon) 12
Scale 28 . March Slav 33
. My Dreydl 9

Sharp 5 . 1812 Overture 37

. Up On A Housetop 17