Flute book1

t FLUTE BOOI( I ESSENTIAl ELEMENIs ', i PLUS_ DID GON'IPREHENSI\\/E BAND IVIETHOD TIn,l TAUTZENHEISEIT JOHN HTGGINI5 GHARTES |UrENGHTNI PAUI TAVENDER TON'TG. R.HODES DON BTERSGHENI( %HAL.LeoNARD'

FTUTEBOOK I TITI TAUTZENHEISER IOHN HIGOINS CHARTES |nENGHINI PAUL LAVENDER rom c. R.HoDEs DON BIERSGHENK Bandis... Making musicwith a familyof lifelongfriends. Understandinghow commitmentand dedicationleadto success. Sharingthejoy and rewardsof workingtogether. Individualswho developself-confidence. Creativity-expressingyourselfin a universallanguage. B a n di s . . . l f , U S l G ! Strikeup the bond, Tim Lautzenheiser F luteswere knownto existin ancientcivilizationsO. verthe yearst,hey havebeen madeof '.',':j-' wood or metal. Earlyflutes,suchasrecordersa,replayedpointingforward.The other type of flute,calleda transverseflute until the mid-l800s,is playedto the side. t:!',', , i:rF.: In 1847,TheobalBdoehmdesignedthe modernflute.Thisfluteiscapableof playingwith :: ,::t, morevolumethan olderflutes.ThekeysMr.Boehmaddedalsoallowthe instrument o playa .a:'.: full chromaticscalea, nd helpit to playbetterin tune. ,','4i''::.'i''.t: Theflutefamilyincludesthe C Flute(themostcommon)C, PiccoloA, lto and BassFlutes. Asthe highestpitchedmembersof the concertband,marchingbandand orchestraf,lutesplay :r:.1::: melodiesh, armoniesandsolosa, nd areimportantmembersof the woodwindfamily. ....:\";:i:;;,;:..: J.S.BachC, laudeDebussyand RalphVaughanWilliamsareimportantcomposerswho have written musicfor the flute. Somefamousflute performersareLouisMoyseand JamesGalway. *,.r I1j lUl::.: .dO, : .-:, J -t {': O', rf,_ { r: -.! E', .. _:rI;.:i..; rf,:l: Fr;ir,: G:i'{ r|:,'i ttr,.:; :::;!.1J r.'i;,r .\"i:i;l '.t'k.t '\"\"::i, .::_:1i. ,:-.:iiil1 | S B N0 - 6 3 4 - 0 0 3 1 1 - 9 copyright @2004by HALLEONARDCORPORATION Secured All RishtsReserved Ti:alCopyrisht WHAL.LeoNARD' l,--coIRPoRA-rIoN

t 2 rHE BASICS Poslure Siton the edgeof yourchaira, ndalwayskeepyour: . Spinestraighat ndtall . Shouldersbackand relaxed . Feetflat on the floor Breeilhing & Airstreerm Breathingisa naturalthing we alldo constantlyT. odiscovetrhe correctairstreamto playyour instrument: . Placethe palmof your handnearyourmouth. . Inhaledeeplythroughthe cornersof yourmouth,keeping your shoulders teadyY. ourwaistshouldexpandlikea balloon. . Sfowlywhisper\"too\"asyou graduallyexhaleairinto yourpalm. Theairyou feelisthe airstreaml.t producessoundthroughthe instrument.Yourtongueis likea faucetor valvethat releasetshe airstream. Producing The Essential lone Iiuking Gerre Of Your lnslrumenl Embouchure(ahm'-bah-shure)yisourmouth'spositionon the mouthpieceof the instrument.A goodembouchuretakestime Beforeputtingyour instrument and effort,socarefullyfollow thesestepsfor success: backin itscaseafterplayingd, o Holdthe closedend of the headjoint in yourleft hand. the following: Coverthe openend with the palmof yourright hand. . Carefullyremovethe head Rest he embouchureplateon yourbottom lip. Centerthe embouchureholeon the centerof yourlips.Checkby touch- joint andshakeanywaterout. ing the embouchureholewith the tip of yourtongue. . Puta cleansoftclothon the Gentlyrollthe headjoint forwardsothat approximately 1/4 of the embouchureholeis coveredby the lowerlip. end of your cleaningrod and Keepupperand lowerteethspacedslightlyapart. swabout the headjoint. Drawthe cornersof your mouth straightbackand relax ' Twistthe middleandfoot your lowerlip. jointsapartand drawthe Makea smallopeningin the centerof yourlips.Blowair cleaningrod througheach partlyinto and partlyacrossthe embouchurehole. joint. Practiceregularlyin front of a mirror.Rollthe headjoint in . Carefullywipe the outside or out to find the embouchurepositionthat producesyour bestclearandfull tone. of eachsectionto keepthe f i n i s hc l e a n . 'YIOUTHPIECWEORKOUT ta k ea d ee ' t hw itho ut r ais i n gy o ur sh ou l de rs. p\"b. rea F o r my o u r e m b o u c h u r ea n d Whisper\"tooa\" ndgraduallyexhaleyourfull airstreamS. trivefor an eventone. REST REST ttroo\" ttloo\"

Getting lf logether embouchure heod middle fool hole ioinr Iioinr ioinr J I ernborichure E-flcr key plcle Step I Holdtheheadjointinyourlefthandandthemiddlejointinyourrighthand.Gentlytwistandinsert theheadjointintothe middlejoint.Makesurethattheembouchurheoleisdirectlyin linewiththe middlejoint'srowof keys. Step 2 Holdtheassemblemd iddlejointinyourlefthandandthefootjoini inyourrighthand.Genttytwist andinserthemiddlejointintothefootjoint.Theembouchurheolek, eysofthemiddlejointandthe l o n gr o do n t h ef o o tj o i n t s h o u l da l ll i n eu p . Step 3 Resyt ourleftthumbon the undersidel'songstraightkey.Keepyourwriststraight.Your.fingersshould archnaturally.Resyt ourfingertipson the centerof the keys. Step 4 Placethe tip of yourrightthumbon Step 5 Allowthe embouchureplateto the flute'sundersidebetweenyourfirst presslightlyagainsyt ourlowerlip. and secondfingers.Archyourfingers Holdthe fluteasshown: and restthem lightlyon the keys.Put your littlefingeron the E-flatkey. READINGMUSIC ldentifyand draweachof thesesymbcls: Music Stoff LedgerLin\"t Meqsures & Bor Lines Measure Measure BarLine f ,5 BarLine BarLine Themusic staff L e d g e rl i n e se x t e n d Bar linesdividethe musicstaff h a s5 l i n e sa n d4 the musicstaff. into measures. s p a c e sw h e r e Noteson ledgerlines notesand rests canbe aboveor arewritten. belowthe staff.

Long Tone H Tobegin,we'll usea special\"LongTone\"note. Hold the tone until your teachertellsyou to rest.Practicelong toneseachdayto developyour sound. l . THEFIRSTNOTE r Holdeachlongtone untilyourteachertellsyouto rest. 1lEJ I (t rrFa- TEJ I oooroood \\ Toplay \"F,\"placeyour fingerson thekeysasshown. The Beot Notes And Resfs The beat isthe pulseof music,and likeyour heartbeatit Notestell us how high or low to playby their placementon shouldremainvery steady.Countingaloudand foot-tapping a lineor spaceof the musicstaff,and how long to playby help us maintaina steadybeat.Tapyour foot down on each their shape.Reits tell usto count silentbeats. numberand up on each\"&.\" I Onebeat = 1 & a ' Quarter Note = 1 beat J1 I Qr\"raer Rest = 1 silent beat 2. COUNTAND PIAY vv v v tv vv II ^ ^ IA Count:142 &3&4 & I &2 &3&4 & II II rap: l,tltlt'l,t ltllltlt 142 & 3&4&1a2&3&4& lt,tt ,tfll ,l,tlt,l,t,tt 3. A NEW NOTE Lookfor the fingeringdiagramundereachnew note.Thisnoteis\"Eb(E-flat).\" oooloooj 4. TWO'S A TEAM rA v vv IU ^ 1a2&3&4& Count&Tap: 1 a 2 & 3 & 4 & 1 &2 &3 &4 & II I 1a2&3&4& 5. HEADINGDOWN Practicelong toneson eachnew note. ^J ^S \\7 \\7 7 11E> | lttr) | ooolo006 6. MOVING ON UP a\\ 4\\ AA\\ J' a? aa a- 4f\\ a\\ f\\ .J v vv Count&Tap:142&3&4& &2&3&4& &2& & 4 & 1a2&3&4

DOuble Bqr' - indicatethseend Repeostisn : H:f;:*\"iff?;1il#: tl of a pieceof music. DoubleBar c'7. THELONG HAUL RepeatSign oooroood a a 8. FOURBY FOUR 4\\ v t, vv v &2&3&4& I Count&Tap:142 & & 2 & &4& &2&3&4& 9. TOUCHDOWN FIVE tt v D f\\ E' l. a, !. a, L..a, L..a I a V V V V V , - v a- o 1 Treble Clef Time Signoture Note Nqmes (GClef) indicateshow many beatsper measure Eachnote is on a line or spaceof the staff.These i n d i c a t e st h e and what kindof note getsone beat. note namesareindicatedby the TrebleClef. positionof note \\ / nameson a music = 4 beatspermeasure staff: Secondline = Quarter note getsone beat isG. Shorp f raisesthe note and remainsin effectfor the entiremeasure. Flot b lowersthe note and remainsin effect'forthe entiremeasure. Nqturql h cancelsa flat (b)or sharp($)and remainsin effectfor the entiremeasure. I I . R E A D I N GTHE NOTES Comparethisto exercise12,THEFABF|VE. 1& 2 & 3 & a 12. FIRSTFTIGHT I3. ESSENTIAETLEMENTGSIUIZFillin theremainingnotenamesbeforeplaying. ffi BbCD

Notes In Review a-F Tr7E- b D c Bb -f- +p- Memorizethe fingerings ?aO'O,,-'--d :-,OO'OOOj rF= for the notesyou'velearned: I I oooroood 14. ROTLINGATONG OOOIOOO.-r oooroood O> t) Goto thenext line.7 DoubleBar .1 Hcrlf Note Holf Rest I = 2 Silent Beats I O1=2Beats 1&2& 1&2& | 5. RHYTHM RAP Claptherhythmwhitecountingandtapping. RepeatSign .,1 Clap 1&2&3&4& I &2&3&4& 1&2a3&4 & l&2&3&4& 7&2&3 &4& l&2&3&4& 16. THEHALFCOUNTS Sz l&2&3&4& 1&2&3&4 & 1&2&3&4& l&2&3&4& 1&2&3&4& 1&2&3&4& l7 . HOT CROSS BUNS Checykourembouchuarendhondposition. lra ha l^ { Breofh Mqrk ) Takea deep breaththrough your mouth after you playa full-length note. 18. GO TEILAUNTRHODIE AmericanFolkSong , I9. ESSENTIALELEMENTSGIUIZ Usingthenotenamesand rhythmsbelowdrawyour noteson the staffbeforeplaying. ,ffi )) )) )))J) ) )) Eb F Eb D Eb D E b EbDCBbC

Whole Nofe Whole Rest Whole Rest Half Rest --.--_-...-_-.-- =4Beats I A Whole Measure I O-# of Silent Beats 1&2&3&4& 1&2a3a4a hangsfrom sitson a a staffline. staffline. 20. RHYTHM RAP CIaptherhythmwhitecountingandtapping. CIap 1&2&3&4& 1&2&3&4& l&2&3&4 & 1&2&3&4& t&2&3&4& 1&2&3&4& 2T. THEWHOTEIHING 1 a 2 & 3 &l4&&4 & 1 &s 22&&33&&44&& 1 & 2 &a 33a&44a& 1a2a3a4a 1a2a3a4a 1a2a3a4a Duef A compositionwith two differentparts,playedtogether. 22. SPIIT DECISION- Duet Key TheKeySignaturetellsus which notesto playwith sharpr(f) or flats(b) tf'rorghout the i:.*\"' Signoture music.YourKeySignatureindicatesthe Keyof Bb- playall B'sasB-flatsa, nd E'sas E-flats. ' - .,.!l:.. 23. MARCH STEPS .,t:i ' i,O- '-*,? ' i,::a1:: : L PloyBb'sandEb's 24. TISTENTO OURSECTIONS Percussion Woodwinds Brass Percussion Woodwinds Brass Brass ( I 25. LIGHTTYROW 26. ESSENTIALETEMENTSQUIZ Drawin theborlinebseforyeouplay.

Fermqtq A Holdthe note (or rest)longerthan normal. 27. REACHINGHIGHER- New Note Practicelong toneson eachnewnote. Fermata-V F A oootoood F r e n c hF o l kS o n g o> 28. AU CLAIREDE tA IUNE 29. REMIX .>e Hqrmony Twoor more notesplayedtogether.Eachcombinationformsa chord. C) j,H,' -; .,1-=: - . 30. TONDON BRIDGE- Duet E n g l i s hF o l kS o n g :I eo AustriancomposeWr olfgangAmadeusMozart(1756-1791w)asa childprodigywho startedplayingprofessionalalyt agesi&andlivedduringthetimeof theAmericanRevolutionM. ozart'smusicismelodicandimaginativeH. ewrotemere F 5 than600compositiondsuringhisshortlife,includinga pianopiecebasedon thefamoussong,\"Twinkle,TwinkLleitt,leStar. I !E 3I. A MOZARTMELODY Adaptation 32. ESSENTIALETEMENTSQUIZ Draw thesesymbolswheretheybelongand 'll fr writein the note nomesbeforeyou ploy: n

33. DEEPPOCKETS- New Nofe oootoooJ 34. DOODTEAtt DAY 35. JUMP ROPE Pick-Up Notes .. . .. Oneor morenotesthatcome:befortheefirstful/measureT.hebqts of Pick;Up,Notei'are 36. A-TISKELA-TASKET Y Pick-upnote Dynomics f - forte (playloudly) ,!f - mezzoforte(playmoderatelyloud) p - piono (playsoftly) Rememberto usefull breathsupportto controlyourtone at all dynamiclevels. 37. IOUD AND SOFT J. 5.Pier pont Clap f *If 38. JINGTEBEttS Keepyour fingerscloseto the keys,curvednaturolly. 39. MY DREYDT Usefull breathsupportot alldynamic levels. TraditionaHl anukkahSong )

10 Jn\"*nJ'* N J1=fTr:Twoor moreEighthf Beam EighthNotes 1& 2 & Noteshavea beam acrossthe stems. il EachEighthNote = 1/zBeat 2' E ight hN o te s= l Be a t 1 & Playon down and up taps. 40. RHYTHM RAP Claptherhythmwhitecountingandtapping. Clap 1a 2 & 3 & 4 & 1& 2 &3 &4 & &2&3&4 & &2 &3 &4 & A m e r i c a nF o l kS o n g 41 . EIGHTHNOTEJAM r ll 1a 2& 3&4 42. SKIPTO MY rou 43. LONG, LONG AGO GoodpostureimproveysoursoundA. lwoyssitstraighat ndtatl. S t e p h e nC o l l i n sF o s t e r p 44. OH, SUSANNA ftafiancomposerGioacchinoRossini(1792-1868b) egancomposingasa teenagerand wasvery proficienton the piano, violaand horn. He wrote\"WilliamTell\"at age 37 asthe lastof hisforty operasa, nd its familiartheme is stillheardtoday on r a d i oa n d t e l e v i s i o n . 45. ESSENTIATELEMENTSGTUIZ- WIIIIAM TEtt G i o a c c h i n oR o s s i n i ffiM ryf

2 Time Signqture 2 beatspermeasure Conducfing {b 11 Quarter notegetsone beat '., #4 P r a c t i c ec o n d u c t i n gt h i s -d two-beatpattern. ovF 46. RHYTHM RAP &2& &2 & &2 & & 2 & 1a2& 1a 2 & Clap 1a2&1a2& 47. TWO BY TWO Tempo Morkings Tempoisthe speedof music.Tempomarkingsare usuallywritten abovethe staff,in ltalian. Allegro - Fast empo Moderato - Medium tempo Andante - Slowerwalkingtempo 48. HIGH SCHOOTCADETS- Mqrch J ohnPhilipSousa Allegro f Reproduced by Permission of Eoosey & Hawks Music Publishers Ltd. 49. HEY,HO! NOBODY'S HOME - New Nofe @- oooloooj Dynomics rll- ., Decrescendoor Diminuendo (graduallysofter) Crescend(ograduallylouder) 50. CLAPTHEDYNAMICS Clap 5I. PIAY THEDYNAMICS - pf a

12 PERFORTNANCSEPOilI@HT 52. PERFORMANCEWAWI-UPS T O N EB U I L D E R I It a.t A A ( t.D RHYTHMETUDE I l, CHORALE *!f Stomp! Andante --p t(l L p 53. AURA tEE- Duet or Bqnd Arrqngement G e o r g eR .P o u l t o n (PortA = Melody,PartB= Harmony) A Andante -p A ryf a I A ol -- p ------ AI F r e n c hF o l kS o n g B TI;T T ,f ---- A -f *f orf f _=_ n!f, AI B \"f 54. FREREJACGIUES- Round (WhengroupA reoches@, groupBbeginsat @) oModerato @ IL OI -,r L v ,!f f

PERFORTTilANCSEPOTITOHI 13 55. WHEN THESAINTSGO MARCHINGlN - Bond Arrongemenl A rr.by JohnHiggins Allegro p o Measurneumber 2nd time go on to meas.l j :7 rfl *f E v f @ I It }F l 2 56. OtD MACDONATD HAD A BAND - Secfion Feqfure Allegro I It tl tt I ryf r ( 57. ODETO JOY (from Symphony No. 9) Ludwigvan Beethoven Arr.by JohnHiggins Moderato A V r JohnHiggins *If -p rfl ( E IL ( f 58. HARD ROCK BLUES- Encore Allegro f ].t f l {

14 A curvedline connectingnotesof the samepitch. Play = 2 Beats one note for the combinedcountsof the tied notes. Tie 59. FITTO BETIED 60. ALOUETTE F r e n c h - C a n a d i aFno l kS o n g 3 beats ^ Dofted Holf Note I tl ). I 3 beats I o ----o d- < Dot 2beats+lbeat Qc---+=3Beats A dot addshalfthe valueof the note. 1a 2 & 3 & 6I. ATOUETTE- THESEGIUET F r e n c h - C a n a d i aFno l kS o n g '>i'' <;;:::.: , \":4o AmericancomposeSr tephenCollinsFostef(I826-1864w) asbornnearPittsburghP,A.Hehasbecomethe mostrecognized 'j-!6li.:'_ songwriterof histimeforworkssuchas\"Ohsusanna,\"whicbhecamepopularduringtheCaliforniaGoldRushof 1849. i\"-I . AmonghismostwelFknownsongsare\"MyOldKentuckyHome\"and\"CamptownRaces.\" ,; ll.r\"r:i,, 62. CAMPTOWN RACES S t e p h e nC o l l i n sF o s t e r Allegro ,lf 63. NEW DIRECTIONS- New Note Toptoylower notes,blowsofttyand direct theairstreamlower into theembouchurehole. ffiF oooroood 64. THE NOBTES Alwaysusea fullairstreamK.eepfingearsbovethekeys,curvneodturally. IL rJ- a) ( 3 beats\\ 6 5 . ESSENTIAIELEMENTSQUIZ ffi

3 Time Siqnofure Conducring {N -z----> 4YA P r a c t i c ec o n d u c t i n gt h i s three-beatpattern. 3 beatspermeasure Quarter notegetsone beat 66. RHYTHM RAP Clap 1&2a3a 1&2a3a 2 2a 3a &2 3a 2a3a 1a2a3a 67. THREEBEATJAM 1&2a3a 1&2a3a u2 s2 a3a a2 & a2 3a 2&3& 1a2a3a JacquesOffenbach 68. BARCAROLTE Moderato - NorwegiancomposerEdvardGrieg (1843-1907)wrote PeerGyntSuitefoi a playby Henriklbsenin I 875,the year beforethe telephonewas inventedby AlexanderGrahamBell.\"Morning\"isa melodyfrom PeerGynt SuiteM. usic usedin playso, r in films and televisioni,scalledincidental music. 69. MORNING (from Peer Gynt| Andante Accent ) Emphasizethe note. 70. ACCENTYOUR TATENT Clap Latin American music hasits rootsin the AfricanN, ativeAmericanS, panishand Portuguesecultures.Thisdiverse musicfeatureslivelyaccompanimentsby drumsand othei percussioniinstrumenrtrr.h a'smaracasand claves. Music,fromLatinAmericacontinuesto influencejazz,classtCaanl d popularstylesof music.\"Chiapanecas\"ias populprchildren'sdanceand gamesong. 7I. MEXICAN CTAPPINGSONG (\"Chiopqnecqs\"l 72. ESSENTIAICREATIVITY Composeyour own musicfor measures3 and 4 using thisrhythm: ) ) fTJlI) )tl

Accidenfol , ,, FIof o Any sharp,flator natura!signwhich' A flat sign lowersthe pitch of a note by a half-step.The note A-flatsoundsa half-stepbelow A,and all A'sbecome appearsin the musicwithout being in A-flatsfor the restof the measurewherethey occur- the keysignatureis calledan accidental. t Flatappliesto allA'sin measure. HOT MUFFINS- New Note F oootoood 74. COSSACKDANCE Allegro 7 5 . New Nofe t A b Flatapp,liesto all A'sin measure. 5otroool F-lE.-1 New Key Signoture I st & 2nd Endings a a ThisKeySignatureindicatesthe Keyof ft- play all B'sas B-flatsa, ll El as E-flatsa, nd all A'sasA-flats. Playthroughthe 1stEnding.Then playthe repeatedsection of music,skipping the l st Endingand playingthe 2nd Ending. HIGH FTYING tAb Moderato llz 2nd time Japanesefolk musicactuallyhasits originsin ancientChina.\"SakuraS, akuraw\" as performedon instrumentssuchas the koto, a 13-stringinstrumentthat is morethan 4000yearsold,and the shakuhachior bambooflute. The unique sound of this ancientJapanesemelody resultsfrom the pentatonic(or five-note)sequenceusedin this tonal system. 77. SAKURA, SAKUR/A- Bond Arrongemenf J a p a n e s eF o l kS o n g Arr.by JohnHiggins

78. UP ON A HOUSETOP n: 17 Allegro F r a n zL e h a r fo\"** 'If @GlGken Verlag Ltd., London Reproduced by Permission KeySignature 79. JOTLYOtD ST.NICK - Duet m- Moderato - :I ryf Seepage 9 for odditional holidaymusic,MYDREYDLand JINGLEBELLS. 80. THE BIG AIRSTREAT-\\ANew Note oootoooJ ABb 8I. WALTZTHEME(THETYTERRWYIDOW WAHZ) Moderato 4f 82. AIR TIME 83. DOWN BY THESTATION -___- Allegro \"f 84. ESSENTIAIELEMENTSGIUIZ ffi Moderato *!f f 85. ESSENTIAT CREATIVITY lJsingthesenotesim, provisyeourown rhythms:

18 WORKOUTSFOR TONE &TECHNIQUE ffi'DArtYwARtn-nPs e 86. TONE BUITDERUsea steadystreamof air. 87. RHYTHMBUILDER 88. TECHNIQUTERAJX I at 89. CHORATE ^daptedfromcantata147) JohannSebastiantsach A A ------------- ra -- p .>' 4 ' , Theme qnd Vqricrfions A musicalformfeaturinga theme,or primarymelody, followedby variations,or alteredversionsof the theme. '9' lrl t-it,?E- ' , ':Eli go. VARIATIONSON A FAMITIARTHEME Theme Variation2 D.C.ql Fine At the D.C.al Fine playagainfrom the beginning,stoppingat Fine (fee'-nay). D.C.isthe abbreviationfor Da Capo,or\"to the beginning,'randFine means\"the end.\" 9I. BANANA BOATSONG C a r i b b e a nF o l kS o n g Moderato D.C. al tsine

Nqfurol A natural signcancelsa flat (b)or sharp(il)and remainsin effectfor the entiremeasure. 19 -{ :::il|| ': ..tO,: ,7t,' ,fu 92. RAZOR'S EDGE- New Nofe Yt!ZrE ') oootoood Eh 93. THEMUSICBOX Moderato African-Americanspirituals originatedin the 1700's,midwatyhroughthe periodof slaveryin the UnitedStates. Oneof the largestcategoriesof true Americanfotk music,theseprimarilyt\"iigiout songswere sungand passedon for generationswithout being writtendown. Thefirstcollectionof spiritualswas publiihed in 1g6i,fouryearsafter The EmancipationProclamation.wassignedinto law. 94. EZEKIESTAWTHEWHEET African-Americna Spiritual Allegro Slur A curvedline which connectsnotesof differentpitch. Tongueonly the first note in a slur. 95. SMOOTH OPERATOR A Slur2 notes- tongueonly the first. :-- 96. GLIDINGATONG - A S/ur4 notes- tongueonly the first. Ragfime isan Americanmusicstylethat was popularfrom the 1890'suntil the time of WorldWarl. Thisearlyform of ilzzbrought fameto pianistslike\"JetlyRoll\"Morton and ScottJoplin,who wrote\"TheEntertainer,,an\"dMapleLeafRag,,, fTyhreOt.rroisminbgolnye,tshnesotywlelewaarsnitnocpolrapyoargaltiesdsinatnodsoo,mateecohrncihqeusetursaeml duinsircabgytilmgoeraSntdra'ovtihnesrksyatynldesColfamudu\"sOic\".[r*yl 97. TROMBONERAG Allegro 98. ESSENTIALEIEMENTSQUIZ Andante D.C.al Fine

TAKETHE LEAD- New Note F oootcood PhfqSe A musical\"sentence\"whiicshoften2 or 4measurelsong.Tryto playa phrasein one breath. THECOLDWIND Phrase Phrase p\"f I O | . PHRASEOTOGY Writein thebreathmark(sb)etweenthephrases. :.:l+.',i New Key Signoture Multiple Meosure Rest 2 .)r ThisKey Signature Thenumberabovethe stafftellsyou 1-23-q 2-z-z-q .:,4 indicatesthe Keyof F- play how manyfull measuresto rest. i:C),;,,.i Counteachmeasureof restin sequence: ;i.!r.,r.: Fall B'sasB-flats. :g- f .' F,Ft;' :.::::.:,:::. I 02. SATIN TATIN Allegro GermancomposerJohannSebastianBach(1685-1750w) aspartof a largefamilyof famousmusiciansand becamethe mostrecognizedcomposerof the Baroqueera.Beginningasa choirmemberB, achsoonbecame an organist,a teachera, nd a prolificcomposerw, riting morethan 600 masterworksT. hisMinuet,or dancein 3/4 time,waswritten asa teachingpiecefor usewith an earlyform of the piano. . MINUET- Duet J o h a n nS e b a s t i a nB a r h Moderato ,f Thismetodycanbeptayedin 3/4 or 4/4. Pencilin eithertimesignatured, ravtthe bar linesand play. Nowerasethebar linesand try theother timesignature.Do thephrasessounddifferent? I 04. ESSENTIATCREATIVITY #

21 I 05. NATURALLY AustriancomposerFranzPeterSchubert(1797-'1828li)veda shorterlifethan any other greatcomposerb, ut he createdan incredibleamount of music:morethan 600art-songs(concertmusicfor voiceand accompaniment)t,en symphoniesc,hambermusico, perasc, horalworksand pianopieces.His\"MarchMilitaire\"wasoriginallya pianoduet. I 06. MARCH MltlTAlRE - New Note F r a n zS c h u b e r t Allegro oooroooJ lo7. THEFIAT ZONE - New Note I ft lrl' oootoood ADb o> I 08. ON TOPOF OLD A m e r i c a nF o l kS o n g Allegro .*. Boogie-woogie isa styleof the blues,and it.wasfirstrecordedby pianistClarence\"PineTop\"Smithin 1928, one yearafterCharlesLindbergh'ssoloflight acrossthe Attantic.A form of jazz,bluesmusicfeaturesaltered notesand is usuallywritten in 12-measurveersesl,ike\"BottomBassBoogie.\" I 09. BOTTOM BASSBOOGIE- Duet Allegro

22 t\\ J- ') A dot addshalf I |r- n singleeighth Doffed Gluqrter .1. ------f' a) = 2 Beats F- a ) notehasaflag & Eighth Noles tjre v-a]ueof the ) ._ )) 1&2& quarternote. onthestem. I I O. RHYTHM RAP 1a2& 1& 2 & 3 & 4 & I a 2 & 3 & 4 & 1a 2 & 3 & 4 & 1& 2&3&4 & I I I. THEDOT ATWAYSCOUNTS 1a 2 & 3 & 4 & I & 2 & 3 & 4 & 1a 2 & 3 & 4 & I a 2 & 3 & 4 & I I2. A[t THROUGHTHENIGHT | | 3. SEA CHANTY Alwoysusea fullairstream. E n g l i s hF o l kS o n g I 14. SCARBOROUGHFAIR E n g l i s hF o l kS o n g -.? I 15. RHYTHMRAP 1a 2 & 3 & 4 & 1& 2 & 3 & 4 & I a 2 & 3 & 4 & 1& 2 & 3 & 4 & I I6. THETURNAROUND 1a 2 & 3 & 4 & t & 2 & 3 & 4 & 1& 2 & 3 & 4 & 1a2&3&4& II7. ESSENTIATELEMENTSGIUIZ- AUID LANG SYNE S c o t t i s hF o l kS o n g ffi A CheckRhyt,h-m- - f

23 PERFOR.TNANCSEPOTHGHT Youcan performthis solowith or without a pianoaccompanist.Playit for the band,the schoolor Solo with Piqno yourfamily.lt is part of Symphony No.9 (\"From The New World\") by CzechcomposerAntonin Accomponimenl Dvor6k (1841-1904)H. ewroteit prhilevisitingAmericain 1893a, nd wasinspiredto include melodiesfrom Americanfolksongsand spiritualsT. hisisthe Largo (or\"veryslowtempo\")theme. I 18. THEMEFROM \"NEW WORTD SYMPHONY'' Antonin Dvor6k E - . Measurenumber E9l slo*\"t - - P i a n oA c c o m p a n i m e n t lzglsnro*t

24 Greatmusiciansgiveencourogementto fettowperfarmers.Onthispage,clarinetistlsearntheirinstruments'upper registerin the\"GrenadillaGorillaJumps\"(namedafter thegrenadillawood usedto make clarinets).Brassplayers learnlip slurs,o new warm-uppattern. Thesuccesosf your band dependson everybne'seffort and encouragement. | | 9. GRENADILTAGORlttA JUMP No. I -.. 3.. I It I20. JUMPIN' UP AND DOWN l 2 l . GRENADILTAGORIIIA JUMP No. 2 - New Note al ffiF re+ fr_ oOolooos > Highernotesareeasierwhenyou aimyouroirstreamhigheracrosstheembouchurehole. I22. JUMPIN' FORJOY t- n tttl ( 123. GRENADIIIA GORILIA JUMP No. 3 I24. JUMPIN'JACKS i\"I*:l fll*Tf\"-\"-:H:*',:1ft';\"H:Itri;illf;'J,\"H*',n\"lJ\"\"o'152nd-t 3rd ---l 4th---------r 5th--------------r 6.th.----:-t 7th-:--.----------- .Oitave -------r 1 2 5 . ESSENTIAL ELEMENTS QUIZ Writein thenumberosf theintervalsc,ountingupfromthelowernotes. ffi ll

25 126. GRENADIIIA GORlttA JUMP No. 4 :.\\.. 127. THREEIS THECOUNT 128. GRENADIIIA GORlttA JUMP No. 5 129. TECHNIGIUETRAX | 30. cRosslNcovER Trio A trio is a compositionwith three partsplayedtogether.Practice this trio with two other playersand listenfor the 3-partharmony. | 3 I . KUM BAH YAH - Trio Alwoyscheckthekeysignarure. Moderato -___ p

26 Repeat he sectionof musicenclosedby the repeat signs. (lf lst and 2nd endingsareused,theyareplayedasusual- but Repeot Signs go backonly to thefirst repeatsign,not to thebeginning.) 132. MICHAETROW THEBOAT ASHORE . African-AmericanSpiritual Andante I33. AUSTRIANWATTZ -- A u st r ianFolkSong Moderato -\\ A u s t r a l i a nF o l kS o n g -. I34. BOTANY BAY Allegro '* e Time Signofure Conducting #E = CommonTime Practiceconducting \\ +:lD: this four-beatpattern. J e a nS i b e l i u s (sam\"teftl ,r:E:l '\";f,.hf-.i.':..' . .'?..,.' I 3 5 . TECHNIGIUE TRAIK Practicaetaltdynamiclevels. I36. FINIANDIA Andante It-.^, p ESSENTIACT REATIVITY .r,.,*oo*l-.ffi0,,n 137. Createyour own variotionsbypencilingin a dot and a flog to changetherhythmof any measurefrom ll !, l )t l l r o|l J . ) \\)ll # at l.

I38. EASYGORIIIA JUMPS 27 I 39. TECHNIQUE TRAK Atwayschectkhekeysignature. | ,-l I40. MORE TECHNIGIUETRAX JamesBlackand KatherinePurvis I4I. GERMANFOIK SONG Moderato ryf 142. THESAINTSGO MARCHIN'AGAIN Allegro ^C -fr,t. ^C -cr^ I43. IOWIAND GORITLAWAIK 144. SMOOTH SAIUNG I45. MOREGORIIIA JUMPS 146. FUtt COVERAGE

Scole A scaleisa sequenceof notesin ascendingor descendingorder.Likea musical\"ladder,\"each stepisthe next consecutivenote in the key.Thisscaleis in your Keyof Bb(two flats)s, othe top.and bottom notesare both Bb'sT. heintervalbetweenthe Bbt isan octave. 147. CONCERTBbSCATE Octave 5 Scale I Octave Steps: 1 4 Chord & Whentwo or more notesareplayedtogether,they form a chord or harmony. ThisBbchord is Arpeggio built from the 1st,3rdand 5th stepsof the Bbscale.The8th stepisthe sameasthe 1st,but it is an octavehigher.An arpeggio isa \"broken\"chordwhosenote$areplayedindividually. 148. lN HAR ONY Dividethe notesof thechordsbetweenbqndmembetsandplay together.Doesthearpeggiosoundlikea chotd? Chord Arpeggio----l Chord -- Arpeggio 13531 85358 (D 149. SCALEAND ARPEGGIO Scale Arpeggio Arpeggio AustriancomposerFranzJosefHaydn (1732-1809w) rote 104symphonies.Manyof theseworkshad nicknames and includedbrilliant,uniqueeffectsfor their time. HisSymphonyNo.94was named\"TheSurpriseSymphony\" becausethe soft secondmovementincludeda suddenloud dynamic,intendedto wakeup an often sleepy audience.Payspecialattentionto dynamicswhen you playthis famoustheme. I50. THEMEFROM \"SURPRISESYMPHONY\" Andante I 5I . ESSENTIAELTEMENTGSIUIZ- THESTREETOSF TAREDO A m e r i c a nF o l kS o n g Writein the note namesbeforeyou play. ffi |l l-t'

PERFORINANCESPOTLIGHT 29 | 52. SCHOOI SPtRlT- Bond Arrongemenf . W . TP. u r d y Arr.by JohnHiggins March Style E * MeasureNumber Soli I\"hC.anrnpivFoayfl'1V9emnuicsei-,mc\"aannrkdaemdSetohlie,yionusatrruempaerntothfsaagtprolauytp\"hseoSlooo\"lipr garrotautpefaeachtiunrdeiL.ciastteemndcaeraesfuulrlneiynumber. | 53. CARNIVAI OF VENICE- Bond Arrongemenf J u l i u sB e n e d i c t Arr.by JohnHiggins Allegro

30 W O R K . O U T SF O R T O N E & T E C H N I Q U E nDAITY WAR.M-I'PS I54. RANGEAND FTEXIBITITBYUILDER I55. TECHNIGIUTERAX t 56. CHORATE J o h a n nS e b a s t i a nB a c h .>' E ThetraditionaHl ebrewmelody\"Hatikvahh\"asbeenlsrael'nsationaal nthemsincethe nation'sinception' At the Declaratioonf Statein 1g4gi,t wassungby the gatheredassemblyduringthe openingceremony :r9 and playedby membersof the PalestineSymphonyOrchestraat its conclusion. ::'Fr. rdt.: .!_:- i.I - .i'-:':+', I57. HATIKVAH l sraelNi at ionaAl nt hem ll\" Andante llt',-

31 Eighfh Note t\\ )t Jt fTtl & Eighth Resf dt = 1/2beatofsound 1&2& TJrJ 7 = 1/2 beat of silence 1&2& 1& 2 & la 2 & 1 & 2 & 1& 2 & 1&2&1&2&1&2&l&2& I59. EIGHTHNOTEMARCH 1& 2 & 1& 2 & 1 a 2 & 1 a 2 & 1a 2 & I a 2 & l a 2 & l & Z & I60. MINUET J o h a n nS e b a s t i a nB a c h 16I. RHYTHMRAP l&2&3&4& l&2&3&4& l&2&3&4& l&2&3&4& 162. EIGHTHNOTESOFFTHEBEAT 1&2&3&4& 1a2& 3&4& 1a2& 3&4& 1&2& 3&4& 163. EIGHTHNOTE SCRAMBLE rfl m' v , - I T, tar t- 164. ESSENTIAIETEMENTSQUIZ

32 New Note aoaloooJ o> lch King'\" A'fbsramo\"rnmeld\"rhpi*ciersa\"rfnaif\"ocmroimoimiu\"epsdiEaoi;llsCl roeasruape\"nrint,datdcn\"sootp.rnoeiduprueneicottstfta,ioai;i-riniJsidioiimhir\".nai-r,'ra\"Pci\"\"hh,tin'il\"iapm1Sr\"\"owiupos\"aasu(h.1o,ans5st4tth-o';1np9o3 p2Pu)owlas]aortintteyod.mfl 3ba6amnndvoas]tichnheAerpms .aeKtrnriicooawtH'inwcea.orset\"ilTs.'ahsemoMeualsoadly E[ cAPlrAN J o h nP h i l i 's o u s a Reproduced by Permissicn of Boosey & llawkes Music Publi5hers Ltd' , , OC a n a d a , , , f o r m e rklny o w nasthe'Nationalsong,\"w afsi r s tp e r f o r m e dd u r ing 1880in Fr e n c hC a n a d a 'R o b e r t stanleyweir t ranslatedthe Englishlanguageversionin 1908,but it was not adoptedasth e nationalanthemof canadauntil 1980o, ne hundredyearsafteritspremiere. O CANADA C a l i x aL a v a l l e e , l ' H onJ. udgeRout hier Maestoso(MaiesticallY) a n d J u s t i c eR . 5 . W e i r p I 68. ESSENTIALETEMENTSQUIZ - METERMANIA CounatndctopbeforpetavinsC. onvouconductht is? ffi

Enhqrmonics : c*qfd Dj Fl.andGb V .Two notesthat arewritten differently,'butsound Ona piano keyboard,each the same(andplayedwith the samefingering)are blatkkey isboth a flat and calledenharmonics.Yourfingeringcharton pages , 46-47showsthe fingeringsfor the enharmonic a sharp: ., l noteson your instrument. C D E F GIA B C 169. SNAKE CHARMER EEnnhhaarmr monoicnnoi t esusethe somefingering. oooloooj I7O. DARK SHADOWS t7l. closE ENCOUNTERS Enharmonicnotesusethesomefingering. Dblcffi - oooroood icf; JDb PeterIllyichTchaki ovsky I72. MARCH SLAV Largo 173. NOTESIN DISGUISE Chromotic Chromaticnotes arealteredwith sharpsf,latsand naturalsignswhich arenot in the Notes keysignature.Thesmallestdistancebetweentwo notesis aialf-step,a nd a sca lemade up of consecutivehalf-stepsis calleda chromatic sclte, ' '' -,,r I74. HATF.STEPPIN'

34 ;tF\";;r.;e\";t;nr'-;c;i\"h;c;Jto-i;ma;.oose.ncrnaammI ibollepe^.r\"sw-r:a-ao.i*rn\"ktrs-<s-T-*aarhiie.teltnlua\"sE?(i-1qgi-n81y3cptl5h?ti-'eat1lDswn9ara2mn1wce)yreoei\"tstaeeomrtmnhr euaostrfihctfhooemrmvairastEiundathilsleyoemnvineevsrfyermonmteedhdtiihusemfap:mohpooeunrlasoosg,pSreauriptaeht -1g77' '*'ji i F ,. :,F- f-r H;:1 175. EGYPTIAN DANCE Watchforenharmonics. C a m i l l eS a i n t - S a d n s Allegro- 176. SIwERMOON BOAT Largo D.C. al Fine ::.f;rt-' Gdicneeehlsreimpsbimart aenibtcnieondcmg.toAhpmesoairsnetegeurcLsnoutiamfdimcwpaeliegtni tovttenoaol yndfhGeBi saeegfrerimnet haa1otngnvy0eei n2sn.s1(Ah1,9li7ts9h7S0o0.yTu-m1hg8iphsh2hi s7eoti)nchsyoecNuotohlnd.es9nmi(odpeet.hf1rree3oda)tmworhahbisisespmsoeynurmefsoiopcrfthmhtoheenedwyawNasoyot hrw.l7ede,'fssicengacarneol e,anhttdeoemcst hootceuvoelcmdem\"prheeoenmsate'orr\"inst y, i€) -t,l1! 5 ?- .;.fE-.1.;-,,t.: 177. THEMEFROM SYMPHONY NO' 7 - Duet Ludwigvan Beethoven Allegro (moderatelY fast) A .Z A T A B

RussiancomposerPeterlllyich Tchaikovsky(1840-1893w) rote 5ixsymphoniesand hundredsof other worksincluding TheNutcrackebrallet.'Hewasa masterat writingbrilliantsettingsof folk musica, nd hisoriginalmelodiesareamongthe most popularof all time. His 1812OvertureandCopriccioltalienwereboth written in 1880,the yearafterThomasEdison developedthe practiialelectriclight bulb. 178. CAPRICCIO lTAtlEN Alwaycsheckthekeysisnoture. Ir P e t e rl l l y i c hT c h a i k o v s k y Allegro b- 179. AMERICANPATROT F.WM. eacham Allegro I80. WAYFARINGSTRANGER A f r i c a n - A m e r i c aSnp i r i t u a l Andante l 8 l . ESSENTIAIELEMENTSQUIZ - SCATECOUNTINGCONGIUEST ffi

36 SamueAl .Ward Arr.by JohnHiggins | 82. AMERICATHEBEAUTIFUI- Bond Arrongement Fl Andante Maestoso 2 3 | 83. LA CUCARACHA- BcrndArrqngement L a t i nA m e r i c a nF o l kS o n g A rr .by JohnHiggins Latin Rock -p 2.

PERFORMANCESPOTLIOHT 37 | 84. THEMEFROM I8 | 2 OVERTURE- Bond Arrongernent P e t e rIl l y i c hT c h a i k o v s k y Arr.by JohnHiggins Allegro =

D I PERFoRInANGEsPoTHGHT performingfor an audienceisan excitingpart of being involvedin music.Thissolois basedon Serenade Solo with Piqno in GMajor,K.s2s,alsoknown as\"EineKeine Nachtmusik(\"'A Little Night{r4usic\")W. olfgang Amadeus Accomponiment Mozart wrote this piecein'1787,thesameyearthe AmericanConstitutionwas signedinto law. Youand a pianoaccompanisctanperformthisfor the bandor at otherschooland communityevents' | 85. EINEKLEINENACHTMUSIK- Solo (concervteErsbion) W o l f g a n gA m a d e u sM o z a r t A rr.by JohnHiggins E Allegro f lll - i\"lfE

39 DUETS Hereisan opportunityto get togetherwith a friendand enjoyplayingmusic.Theother playerdoesnot haveio play the sameinstrumentasyou. Tryto exactlymatcheachother'srhythm,pitch and tone quality.Eventuallyi,t may begitr to soundlikethe two partsarebeing playedby one person!Latert,ry switchingparts. | 86. SWING LOW SWEETCHARIOT- Duef A f r i c an - A m e r i c a nS p ir i t u a l Andante :[E A *f ^G> + D.C. al Fine B 187. tA BAMBA - Duet M e x i c a nF o l kS o n g Allegro :ffiaf A D.C. A -a H - t) 'P A B

40 RUBANK' SCAIEAND ARPEOGIOSTUDIES KEY OF Bb tn thiskeysignaturep,layallBb'sand Eb's. l. - tl, l--^ -A --^ V KEY OF Eb tn thiskeysignaturpel,ayallBb's,Eabn'sdAb's. l. 3. zl- l- a) I a, t-l -F- lrl' vttlz

41 RUBANK9SGAIE..'AND.ANPTOOIOSTUDIES KEY OF F tn thiskeysignaturep,layallBb's. l. KEY OF Ab tn thiskeysignature,plaoyllBb's,EAb'bt 'sandDb's' l.

42 WRHYTIIM SIUDIES 1

nRHYTHM STUDIES 43 37

44 CREAflNO MUSIG Composition Compositionisthe art oiwriting originalmusic.A composeroften beginsby creatinga melody madeup of individuapl hrases,likeshortmusical\"sentencesS.o\",memelodieshavephrasesthat seem to answeror respondto'Question\"phrasesa, sin Beethoven'Os deToJoy.Playthis melodyand listen to how phrases2 and 4 giveslightlydifferentanswersto the samequestion(phrases1 and 3). 2.Answer 3.Question Ludwigvan Beethoven 4.Answer 2. Gl. AND A. Writeyouorwn\"onswer\"phrasesinthismetody. l.Question 2.Answer v 3 . PHRASE BUIIDERS Write4 differenpt hroseussingtherhythmbseloweachstaff. A N TTT ). rTT 4. YOU NAME IT: PickphraseA, B,C,ot D ftom abovq and w teit as the\"Question\"fot phrasesI and 3 below. Thenwdte 2 differcnt Answerc\"fot phrases2 and 4. :i'.lmproviscrtion lmprovisation isthe art of freelytreatingyourown melodyosyouplay. Usethesenotesto play your own melody(LineA),to go with the accompanimen(tLineB). 5. INSTANTMELODY A Brffi

44 CREATINOTNUSIG :: Compositionisthe art of writingoriginalmusic.A composeroften beginsby creatinga melody madeup of individualphrases,likeshortmusical\"sentencesS.\"omemelodieshavephrasesthat seem . Composition to answeror respondto'Question\"phrasesa,sin Beethoven'Os deToJoy.Playthis melodyand listen to how phrases2 and 4 giveslightlydifferentanswersto the samequestion(phrases1 and 3). 2.Answer 3.Question Ludwigvan Beethoven 4.Answer 2. Gl. AND A. Writeyouorwn\"answepr\"hroseisn thismetody. l.Question 2.Answer tflr' ^ L '* 3 . PHRASE BUIIDERS write4 differenpt hraseussingtherhythmsbeloweachstaff. A n) n rTr;-) )) rTn ) 4. YOU NAME IT: Pickphruse A,8,C,or D from above and wfite it os the \"Question\"for phrasesI ond 3 below. Thenw te 2 difterent Answes\" fot phtoses2 and 4. lmprcvisotion lmprovisation is the art of freelycreatingyour own ^ .6 b-o- meiociyosyoupiay. l,tsethesenotesto pluyyour own me|ody(LineA),to9owiththe.accompani'\"nt(LineB). 5. INSTANTMETODY A B

45 Y\" canmarkyour progressthroughthe bookon thispage.Fillin the starsasinstructedby yourbanddirector. 27 28 ., I 26 +E?'I *e{ :,.i*,-.1...::'-,, 1,\" '';:Y-i s. I'at .{f qi#-€\"*-3e .'u.. :; \"+,itu::.:.r - 1 : , , , ! r 1f'*Fi.'g.li .t.\\*-r\"^F'1Jit . #' . . t i . - : : ' ?J !.? ,. 25 . -t ..,,:;-r:t'-,.' r ,. . _ .. ; l, .' ,:, ,, . , f i\"1.,,.1? , -.1 ':' .. \" - ' 4 : :e--ii:r. ,, i 24 l' \"'-':ii' ,,'*&..j;:... ...4'-. ! .i:a- ra.; .. .:.r ESSENTIAT 23 EL 6 22 - ,- ....'1. STAR. ACHIEVER. 7 *'':-' 21 NAIUIE 'ff t\\'jo{.- i\".- *l,i: .ah#. 20 ' i'';'z:-:-i€::.9.\".:, v i'l E# 9 'l: . . * = F+ . i'.. .';q1 iv*'*{;,-r'*',ii_'{. '.'t:;i'ti' !+r.'-,.1,t& 1q --''-'.:- i;_ 'i\": i+ t\\ i ,'#' ' #i + . t. 4 18 : \"? '=- r. i.ji\" 10 1 7 :.: fJ\";'., .,t'.] 11 : !1:,, j,:, +.\\ ::t:1. .' 16 12 15 14 13 1. Page2-3,TheBasics 15. Page22,EEQuiz,No.117 2. Page5,EEQuizN, o.13 16. Page23,PerformancSe Potlight 3. Page6,EEQuizN, o.19 17. Page24,EEQuizN, o.125 4. Page7,EEQuiz,No.26 18. Page26,EssentiaCl reativityN, o.137 5. PageB,EEQuiz,No.32 1 9 . P a g e2 8 , N o . 1 4 9 6. Page10,EEQuizN, o.45 20. Page28,EEQuiz,No.151 7. Page12-13,PerformancSepotlight 2\"1. Page2g,PerformancSepotlight 8. Page14,EEQuizN, o.65 22. Page31,EEQuiz,No.164 9. Page15,EssentiaCl reativityN, o.72 23. Page32,EEQuiz,No.168 10. Page17,EEQuizN, o.84 2 4 . P a g e3 3 , N o . 1 7 4 11. Page17,EssentiaCl reativityN, o.8S 25. Page35,EEQuiz,No.181 12. Page19,EEQuizN, o.98 26. Page36,PerformancSe Potlight 13. Page20,EssentiaCl reativityN, o.104 27. Page3T,PerformancSePotlight 1 4 . P a g e2 1 , N o . 1 0 9 28. Page38,PerformanceSPotlight |nUSIC I AN ESSENTIAL ETETNENTo)F IIFE

46 FLUTE ffJ- FINOERINOCHART lnstrumenct ourtesYof YamahaCorPorotionof America, Bandand OrchestraDl ivision o = Open o = Pressedown T h e m o s t c o m m o nf i n g e r i n ga p P e a r s firstwhen two fingeringsareshown' lnstrumenl Ccrre R'eminders Beforeputtingyourinstrumentbackin itscaseafterplayingd' o the following: . CTpuwatrieastfctuhrleelyramensmidoodfvtlceeratohnetdhhofoenoatthdjjeooieinnnttsdaaonpfdaysrothauanrkcderadenraaynwwintahgtreeorcdolauenta'dnsinwgraobdotuhtrtohueghheeaadcjohjionitn' t' . . . carefullywipethe outsideof eachsectionto keepthe finishclean' + oooloood oooloooJ oooloo.d? oooloooj oooloooJ oooloool OoolOo03 oooloool tgor:ood ooolOOOl oooloocd

47 FIN@ERINGCHART oooloooj OoOlOooj OOOIOOO.-1 oooloooi F oooloooJ O> \\-'l FG ffi oooloool c ooolOOol F Afi,Bb -FB + c' bc- no oOOloooj oooloood oOoloooj A ooOloooj oooloooJ Fa+ oooloooJ T- F$rGb oooloooj fl-o-o+ oooloOoj +G ooOloOoj oooloooi oooloooJ oooloooj Gil Ab A A#, Bb B c _o_ fie bo fio-P+ = = F# o o t r o o oU. Oooloooj 89\"ifPoa OO O I O O . O\\-/ .a OOOIOOO--r Oe> | o>lL/

48 W,REFERENCINEDEX Definitions (pg.) Slur 19 World Music Soli 29 Accent 15 Solo 23,38 AFRICAN Accidental 16 Tempo I I . KumBahYah 25 Allegro 11 ThemeAndVariations 18 Andante 11 Tie 14 AMERICAN Arpeggio 28 TimeSignature 5 . AmericanPatrol 35 BassCfef 5 (Bascslefinst.) TrebleClef 5 (Treblcelefinst.) . AmericaTheBeautiful 36 Ba rL i n es 3 Trio 25 . AuraLee 12 Beat 4 WholeNote 7 ' EzekieSl awTheWheel 19 Bfues 2'l . GoTellAunt Rhodie 6 BreathMark 6 Gomposers . MichaelRowTheBoatAshore 26 Chord 28 . OnTopOf OldSmokey 21 ChromaticNotes 33 JOHANNSEBASTIABNACH 18 . SkipToMy Lou 10 ChromaticScale 33 . Chorale(fromCantata147) . SwingLoWSweetChariot 39 CommonTime 26 . Chorale 30 . The StreetsOf Laredo 28 Crescendo 11 . Minuet 20 . WayfaringStranger 35 D .Ca. l F ine 18 . Minuet 31 . WhenTheSaintsGo Marchingln Decrescendo 11 Diminuendo 11 LUDWIGVANBEETHOVEN 13,27 DottedHalfNote 14 . OdeToJoy(fromSym.No.9) 13 Dotted QuarterNote 22 . ThemeFromSymphonyNo.7 34 AUSTRALIAN DoubleBar 5 . BotanyBay 26 Duet 7 J O H A N N EBSR A H M S Dynamics 9 . ThemeFromSym.No.1 38 AUSTRIAN EighthNote 10 . AustrianWaltz 26 EighthRest 31 (Bras&sLowVVW\\) Embouchure 2 (Bras&sWW's) CANADIAN Enharmonics 33 ANTONINDVORAK . Alouette \"14 Fermata 8 . ThemeFrom\"NewWorldSym.\" 23 . OCanada 32 l st& 2ndEndings 16 Flat 5 STEPHECNOLLINSFOSTER CARIBBEAN Forte(\"f) 9 . CamptownRaces 14 . BananaBoatSong 18 Gfissando 19 (Trombone) . O h ,S usanna 10 HalfNote 6 CHINESE Half-step 33 EDVARDGRIEG . SilverMoon Boat 34 Harmony 8 . Morning(fromPeerGynt) 15 lnterval 24 ENGLISH KeySignature 7 FRANZJOSEFHAYDN . LondonBridge 8 Largo 23 . ThemeFrom\"SurprisSe ymphony' 28 . ScarborougFhair 22 LedgerLines 3 . SeaChanty 22 Measure 3 F R A N ZL E H A R MezzoForte (r:f) 9 . WaltzTheme 17 FRENCH Moderato '11 . Au ClaireDe LaLune MultipleMeasureRest 20 WOLFGANGAMADEUSMOZART ' FrdreJacques 12 8 MusicStaff 3 . A MozartMelody 8 NaturaSl ign 5 . EineKleineNachtmusik 38 GERMAN Notes 4 ' GermanFolkSong 27 Phrase 20 (Hightttlw's) Piano(p) 9 Pick-UpNotes 9 JACQUEOSFFENBACH ISRAELI QuarterNote 4 . Barcarolle l5 . Hatikva 30 Ragtime 19 Re p e aSt ign 5, 26 G I O A C C H I NROO S S I N I ITALIAN Rests 4,6,7,31 . WilliamTell 10 . CarnivalOVf enice 29 Ro u n d( Canon) 12 Scale 28 CAMILLESAINT-SAEN5 JAPANESE Sharp 5 . EgyptianDance 34 . SakuraS, akura 16 F R A N ZS C H U B E R T MEXICAN . MarchMilitaire 21 . Chiapanecas 15 J E A NS I B E L I U S . LaBamba 39 . Finlandia 26 ' LaCucaracha 36 J O H NP H I L I PS O U S A SCOTTISH . ElCapitan 32 ' Auld LangSyne 22 . HighSchooCl adets 11 TRADITIONAHLOLIDAYMUSIC PETERILLYICHTCHAKI OVSKY . JingleBells 9 . Capriccioltalien 35 ' lollyOld St.Nick 17 . MarchSlav 33 ' My Dreydl 9 . 1 8 1 2Overture 37 ' UpOnA Housetop 17