ALTO SAXGo to scitechband.org SciTech Band Calendar Song Demos Scale Demos Instrument Demos Digital Music Packets Teaching Channel Leader Application Help Request & More...Table of Contenty 1. Note Map/Fingering Chart 2. Concert Bb Major Scale Chart 3. Concert C Major Scale Chart 4. Concert Ab Major Scale Chart 5. Concert Bb Blues Scale 6. Concert C Minor Scale Chart 7. Practice Checklist 8. Scale Checklist 9. Seale Assignments 10, SciTech Band Groove Chart 11, Holiday Solo Options 12, 12 Bar Blues 13. Advanced College Audition Solo Repertoire 14, Amazing Grace 15. Audition Instructions 16. Audition Scale List 17. Audition Score Sheet 18, Audition Prepared Solo ~ Symphonic Band 19, Audition Prepared Solo ~ Advanced Band 20. Angels We Have Heard On High 21. Birdland 22. Blinding Lights 23. Blue Moon 24. Blues By Five 25. Canon Remix 26, Careless Whisper (Sponsor Song) 27, Carol Of The Bells 28. Chained To The Rhythm 29. Chameleon 30. Cheer #1 31. Cold Duck Time Don't Stop Believin’ 33 eye OF The Tae 34. Feeling Good 35, First 5 Note Exercise 36, GNE Song (Great New Emergence) 37. Happy Birthday (?) 38. Heart & Soul 39. Holding Out For A Hero (Sponsor Song) 40, Just Died in Your Arms Tonight (Sponsor Song) 41, ItDon’t Mean A Thing 42, itis Well 43. Let's Groove 44, My Way 48, Over The Rainbow 46, Pep Band Music 47. Pomp & Circumstance (Two Ceremonial Marches} 48, Santa Claus Is Comin’ To Town 49, Sight Reading Exercises 50. Simple Gifts (oisret Determined Measure) 51. Sponsor Song (What Is Love) 52. Star Spangled Banner 53, Student Groove (The Vibe) 54. Suavemente 55. Swallowtail ig 56, Tempest, The 57. Tenor Madness 58, Warm Ups (UMASS BAND) 59. Blank Staff Paper 60. Twinkle Twinkle Note Test 61. Essential Elements Method Book 62. Note Map/Fingering Chart What to practice first... WINTERFEST SET LIST (Semester 1) 1) Cadence 2) The Tempest 3) Blinding Lights 4) Let's Groove 5) Angels We Have Heard On High 66) Santa Claus ls Comin’ To Town, 7) Optional Additions or C Minor Groove 8) Careless Whisper (Sponsor Song) INTERMISSION 9} Canon Remix- (Combined Bands) 10) My Way (Small Ensemble) 11) 12 Bar Blues ARTS ALIVE SET LIST (Semester 2) 1) Cadence 2) Suavemente 3) Optional Additions 4) Optional Additions 5) Careless Whisper (Sponsor Song) INTERMISSION (Combined Bands} 6) The Tempest 7) Blinding Lights 8) Crazy Jam (C Minor Groove) 9) Let's Groove 10) Original Student Composition 11) 12 Bar Blues Graduation - Pomp & Circumstance Optional Additions: (a) Original Student Compositions, (b) Amazing Grace, (b) Birdland, (c) Blues By Five, (d) Carol Of The Buckets, (e} Chained To The Rhythm, (f) Cold Duck Time, (g) Chameleon, (h) Don’t Stop Believin’, {i) Feeling Good, (It Don’t Mean A Thing, (k) Its Well ()} Over The Rainbow, (m} Tenor Madness46 FINGERING CHART ALTO SAXOPHONE Instrument Care Reminders Before putting your instrument back in its case after playing, do the following: + Remove the reed, wipe off excess moisture and retum itto 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. + Drop the weight of a chamots or cotton swab into the bell, Pull the swab through the body several times. Return the instrument to its case. + Your case is designed to hold only specific ‘objects. if you try to force anything else into the case, it may damage your instrument. © = Open = Pressed down “The most common fingering appears fist when two fingerings ae shown.47 & ALTO SAXOPHONE FINGERING CHART e001 2008009 9001909, 001000), wg0e!000, 01000, ce coe D s = sce DO a al a ua | ah z z 2021990, ese 2001090, 222% seeene, eo 001000, 2010004, 2001000, 1000) a 6g 3 = < vo) 2001000 BOSOM dgQ00, Bo1000, = Oo a 6 4 BBoi000, = O GE Ab le re Eid ‘iq - edAlto/Baritone Saxophone. Concert Bb Sca le 1. Scale with hints % coojess o ocolos > o00j08s 0 coves © ceeiees m cecjens cools o ceclees Z z ceeieds m eeejees © coojo8s 0 coolods conjoes > 2. Scale 8. Arpeagio with hints 4. Arpeggio 5. Draw the notes of the scale. See | 6. Draw the notes of the arpeggio. 7. Fill-in the measures with notes from the scale in any order. © SilyOMusioConcert Bb Scale BRASS c D E F G A B c Trumpet = — $5 = COO @0® @8D @00 00D @80 CBO 000 ie G A Bb Cc D E F Bb c D Eb = G A Bb Trombone = 1 6 4 sd a Baritone COO @08 @BO @0O COO 88 08 COCO ye Bb c D Eb F G A Bb Tuba Fe COO 608 @8O @00 COO 680 CBO COCO WOODWINDS Flute Bb c D Eb F G A Bb ge ecclecg, @20/000, Qesiese; Ceviess, epeiecc, epeicco, egciccg, gg0lecn, . ss & Eb oe . ay be 2 sg “ ss 2 & & & & & 8 & Clarinet = 3 3 § 8 8 S 4, 3 Peete Pfs * 3 8 8 8 4 4 ip 3 »Alto/Bari Sax = Sic cies ais totais ia 9 D 3 = G a B c Tenor Sax es 3 3 3 ‘3 3 ‘8 8 Se eR ee USSU Sails Cc F G ee ee .8 [6 .6 2 8 _|e a 4 4 4 4 4 4 i © sityoMusioAlto/Baritone Saxophone Concert Cc Scale 1.Scale with hints * S28 244 $4 a oe cia: ies Se ee. See ence nce 2. Scale oe 3. Arpeggio with hints 5. Draw the notes of the scale, j See} 6. Draw the notes of the arpeggio. 7. Fill-in the measures with notes from the scale in any order. © SilyOMusicBRASS Trumpet = F Horn es Tromb« 2 Bartone = Tuba 2 WOODWINDS Flute Cc D eS scolcoo, geeieee, gpeieec, egeieng Oboe = Clarinet a YK Alto/Bari Sax Fe Tenor Sax gS Bassoon = © SilyOMusic Concert C Scale [> E F# G A B cH »D @0®8 CBO CBO COO OB CBO OH OO G A B Cc D —E FH G COCO @80 CBO COCO CO COCO CBO COO c D E F G A B c 6 4 2 1 4 2 4 3 @C® OBO CBO COO 0B CBO 0B B&O Cc D = F G A B Cc @0® CBD CBO COO OB CBO 08H OO E i qe fe ° > eeeiees 0 cooKos coe008 O lode m lees gee & eoviess O c00jeed f fooeiess 2 joes > cocloss 0 c00|o0® W000} 85H ccojocd Q c0vjocF Ff caelees m m © coojo8s > ™ c9ojess #000) ales 0 eeejees 0 000) a) oeelees m goles © coojoe} > ceslees m coc|odSe > —coclees. © {> pees > Coojocs ceclees | 080) i ates? c0ojeed @ eeelees O c00|0cd @ gpeiees a podese ® 0001005 Q alee 0 oveAlto/Baritone Saxophone. Concert Ab Scale 1.Soale with hints 4 a 4 * B44 Ree eee eee cee ia Nedic erie ce rc brce 2. Scale = aS 4a fof + aot 3, Arpeggio with hints cosjess 7 ‘coojoss > joe cosjees 7 o00jo85 © o00l08% > coelees 7 5, Draw the notes of the scale. 6. Draw the notes of the arpeggio. ==] ==] 7. Fill-in the measures with notes from the scale in any order. © SilyOMusicConcert Ab Scale BRASS Bb c D Eb Fr A Bb Trumpet $5 @0D C00 @0® CEB 850 CLD 080 OD F G Ab Bb Cc F Horn eS CO 800 COO Cwe @O0 05D COO 08D Ab Bb Cc Db Eb iF G Ab Trombone Ee 3 1 6 5 3 i 4 3 Baritone @CO COO €08 C88 OOO COO 080 BO Ab Bb Cc Db Eb ie SG Ab Tuba FES CO COO @08 COe @0O COO 08 @0O WOODWINDS Flute Ab Bb Cc Db Eb G Ab E—— epbiocay epoiecg, 201079) gE0ICT Cesieney gerte0q, gedicng Ab Bb Cc Db G Ab 2 ete gt yo Oboe pare t i I @ c joc joes Clarinet eS : 9K Alto/Bari Sax = i Seesaeioy oso Tenor Sax = 8 Bassoon oor Bae ls = © SilyoMusic jeoo 7 joes @ co0h > coojoee O 00010 coojodte > lees 7 C00j00b~ C00|08d O coo} > cs o hee joo 1008 tom - - = ee jae 5 coelees n c0o|oeS O c00l0c5 - eeages FF if garter 7 CoolesS O seeiess 0 coviocd o Macees oer © eeeiees D000 =a, wot S paler © coojoes > ceelese ™ guvdess ® coho 2 cowl_Concert Bb Blues Scale a _b3 Ca yy Solfege Me| peri) sre cea aus) mi eys ppm Ab | BI ba F | FH 5:SCI-TECH BAND / MTM MASTER PRACTICE CHECKLIST FIRST 5 NOTES ODoOReOMiO FaOSoO a0 11 Odo MAJOR SCALES OBbOBOCOcH/pbO DO Bb OEOFOF#/CbOGO AOA NATURAL MINOR SCALES O_O BOCOC#/DbO DO BO EOFOF#/GbOGOADOA HARMONIC MINOR SCALES OBbOBOCOC#/DbODO bOEOFOFe/GbOGOADDA BLUES SCALES Ob OBOCOC#/DbO DOR OEOFOFe/GbOGOADDA CHROMATIC SCALES 11 Octave Chromatic Scale (Concert Bb) C1 2 Octave Chromatic Scale (Concert Bb) SUETA RHYTHM CHARTS 0102030405060708090100110120130140150 16017018 1190200210 220 230 240 25 0 26 027 028.0290 300 31032033034 035 0 36 037 0 380390400 410420430 440 450 460470 480 49050 0510520530540550 56057058059 0600610620630 64065 RHYHTHM CHARTS (in Band Handbook) CO Unit Rhythm Exercise O Beginning Rhythms C1 Rhythm Sheet 1 CO Quarters, Eighths, & Rests CI Offbeats 10 Offbeats 2 11 Rhythm Grid FUNDAMENTAL RHYTHMS 0102030405060708090100110120130140 15016017018 0190200 210 220230 240 25 0 26 0270280 290 30031032033034 035 0360 370 380 390 400410420 4300 440 450 460 470 480 49050 0510520530540 550 5605705805901 60061062063 064065066 0670680690 700710720730 74075 0 760770 780790 80081062 083 0840 8s 0 86087 0 88 O89 9009109201931 940195 0196097098 1.99101 100 G 101 01 102 D 103 01 104 8 105 0106 0 107 11108 0 10911100111 112 01113 0 114.0115 0 116 0 117 0 118. 119 D 1200 121.0 1220 123 124 0125 0 126 0 127 0 128 0 129 0 130 0 131 0132 0 133 01340 135.0 1360137 10136 0129 0 140 0 141 0 142 0 143 0 1440 145 0 146 0 1470 148 0 149 01150 1 1510152 0 153 01 154 0 155 0 156 0 157 0 158 0 159 01 160 D 161 01 162 0 163 1 164 0 165 0 166 0 167 0 168 0 169 0 17001710 17210173 017401750176 10177 01780 179 0 180 0 181 0 182 0 183 00 184 0 185 0 186 0 187 0 188 0 189 0 19001910 1920193 0 194.0195 ALFRED'S DRUM METHOD, BOOK 1 (for Percussion) Lesson: 011020301405 060708090100110120130140150160 17011810190 200210220230 24.025 0 2602702801290 300310320 330134035 036037038039 ALFRED'S DRUM METHOD, BOOK 2 (for Percussion) Lesson: 102030405060708090100110120130 4o1s0160 170180 190200210 220230240250 260270280 290300310320 33 AFRESH APPROACH TO THE SNARE DRUM, APPENDIX (for Percussion) Lesson: 01102030405 060708090100110120130 40150160 170180190120 Exercises p. 77:0 1020 30405060708090100110120130140150 160170180190 200210220123 Essential Rudiments p. 82: CI Single Stroke Rudiments () Roll Rudiments 1 Paradiddle Rudiments 1 Flam Rudiments 01 Drag RudimentsESSENTIAL ELEMENTS, BOOK 1 010203040506070809010011012013014015016017018 0190 200210220230 240 250 260 270 280290 30031032033034 035 036 0370380390 400 410420 430440450 460470 48049050 051052053054055 0560570580590 600610620630 6406s 066 0670680690 700710 720730740750 760770780790 80081082 0830 8408s 086 0870 880 890900 910192093094095 096097098 99D 100 0 101 0 102 0 103 0 104 D105 O 106 0 107 0 1081 1090 1100111. 112.0 1130 114 0 115 0116 0 1170 118.10 119 0 1200 12101220 1230124 0 125 0 126 D 127 0 128 0 129 O 130 0 131 0 132 0 133 0 1340 135 0 136 0137 0138 D 1290 140 0 141 0 142 0 143 0 144.0 145 0 146 0 1470 148.0 1490150 0151 0 1520 153 O 154 0 155 0 156 0 157 0 1580 159 0 160 0 161 O 1620163 0 1640 165 O 166 0 167 D 168 0 169017001710 1720 173 0 174.0 175 0176 017710178 0 179 0 180 D 181 0 182 0 183 0 184 0 185 0 186 0 187 Pg. 40 ~ Key of Concert Bb D1 #1 01 #2 0 #3 D #4; Concert Eb #10420 430 #4 Concert F C1 #1 01 #2 0 #3 0 #4; Concert Ab O #10 #2 0 #3 0 #4 Pg. 42-43 - Rhythm Studies ESSENTIAL ELEMENTS, BOOK 2 9102030405060708090100110120130140 15016017018 0190 200210220230 24025 O 260 270 280290 300 31032033034 0350 360370380390 400 410420430 440450460470 48049050 O51052053054055 0560570580590 600610 62063064065066 0670680690 700710 720730740750 760770780790 80081082 0830 840 85 08608701 8801890900910920930 94095096 097098 09910 100 0 101 0 102 0 103 0 10410 105 0 106 0 107 0 108 0 109011000111 0112 0 1130114 0 115 0116 01170118. 0 119 0120012101220 1230124 125 0126 0 127 0 128 0 129 0 1300131 0 132 0133 0 1340 135 0 136 0 137 0138 0 129 0 140 0 141 0 142 0 143 0 144.10 145 0 146.0 1470 1480 149 0150 15110152 0 153 0 154 0 155 O 156 0157 0 158 0 159 0 160 0 161 O 162 0 163 0 164 0 165 O 166 0 167 O 168 O 1691017001710 17201730 174.0175 0176 017701780179 0 180 0181 0 182 0 183 0 184 0 185 0 186 0 187 0 188 0 189 0 190 0 1910 192 0 193 0 19410 195 01196 0197 01 19810 199 O Pg. 42-43 ~ Rhythm Studies ESSENTIAL ELEMENTS, BOOK 3 0102030405060708090 10011012013014015016017018 0190200210220 230 240 250260270280 290300 31032033034 035.0 360370380390 400410 420430440450 460 47048049050 0510520530540550560570580590600610620 63064065 066 0670680690 700710720 730740750 760770780790 80081082 0830 640185 0860870 880 990900910920930940 95096097098 990 100 01101 0 102 0 103 0 104 0 105 01 106 0 107 0 108.0 10901100111 0112.10 113 0 114 0 115 0 116 01170 118 0 119 0 1200 1210 12210 123 0 124 01125 O 126 0 127 0 128 0129 0 130 0 131 0 132 O 133 D 134 0 135 0 1360 137 0138.0 1290 140 0 141 0 142 0 1430 144.0 145 0 146 0 1470 148.0 149 0150 0 151 0 152 0 153 D 154 0 155 0 156 0 157 0 158 0 159 0 160 0 161 0 162 Do 163 0 164.10 165 O 166 O 167 O 168 O 1690 1700 17101720 17301740175 01176 017701780 179 O 180 O 181 O 182 0 183 0 184 0 185 0 186 0 1870 188 0 189 019001910 19210 1930194 0195, O Pg. 38-39 ~ Rhythm Studies OTHER O Band Repertoire C1 Solo Repertoire C1 Chamber Ensemble Repertoire C ImprovisationSCALE CHECKLIST KEY _ MAJOR. MINOR HARMONIC MINOR BLUES CHROMATIC (1 Octave) CHROMATIC (2 Octaves) Bb. /C#/Db_ D#/Eb F#/Gb G#/AbSCALE ASSIGNMENTS CONCERT é 4AL2 SAND QUARTER 1 Bb Blues Bb Major Bb Minor C Major Minor C Harmonic Minor Bb Chromatic (1 Octave) QUARTER 2 Eb Major D#/Eb Minor F Major F Minor Ab Major G# Minor G Major G Minor SYMPHONIC BAND QUARTER 1 First Note ~ Concert Bb (Do) First 5 Notes ~ Do-Re-Mi-Fa-So Bb Major - Do-Re-Mi-Fa-So-La-Ti-Do QUARTER Z Bb Blues QUARTER 3 Bb Chromatic (1 Octave) C Major QUARTER 4 C Minor *Scale assignments subject to change QUARTER 3 D Major D Minor C#/Db Major C# Minor E Major E Minor F Blues QUARTER 4 F#/Gb Major F# Minor AMajor AMinor B Major B MinorSciTech Bano Geoove CHaer ~CHogo Peoggessions Foe IMPeov- Scale c D E F G A B Number 1 2 3 4 5 6 7 Major 1 iii iV Vv vi vie Minor i [om iv v_ VI vil “Uppercase roman numerals = Major Chords (ex ll) “Lowercase roman numerals = Minor Chords (ex. ii) Number [Groove | Example in C Major/C Minor/Bb Blues ‘Write In New Key 1 ENEVI-iv_[Cm-Eb-Bb-Fm ic z 2 Eiv-iie-V__ | Cm-Fm-Ddim-G 3 i ‘Cm-Fm-Ab-G? _ 4 Cm-Gm-Gm-Cm : seieciecie 5 Cm-G-GCm = 6 Cm-Gm-Bbm-Fm 7 Cm-G-Bbm-Fm 8 (Cm-Ab-Eb-Bb i 9 Cm-Ab-Fm-G _ 10 Cm-Ab-Fm-Gm it (Cm-Ab-Bb-Cm 12 Cm-Ab-Bb-Fm ea 13 Cm-Ab-Bb-G_ 14, (Cm-Ab-Bb-Gm Ee 15 Cm-Bb-Gm-Ab_ 7 16 C-Dm-F-G a 17 [ckmDmG 18 "| C-Em-Am-F _ 19) Hee 20 24 22 ie 23 ieveviied 24 VAL “-Bb-E 25 [Cm-Fm-Bbm-Bbm -Chord progressions can be used in any keyHoliday Solos - Duets - Trios — Quartets SOLOS (1+people) Up On The Housetop The Hanukkah Song ‘A Holly Jolly Cheistmas Frosty The Snow Man Rockin’ Around The Christmas Tree Tingle Bell Rock Rudolph The Red-Nosed Reindeer Let It Snow! Let It Snow! Let It Snow! The Christmas Song (Chestnuts Roasting) DUETS ‘Angels We Have Heard On High ‘Away In A Manger Deck The Halls ‘The First Noet God Rest Ye Merry Gentlemen Hark! The Herald Angels Sing It Came Upon A Midnight Clear Jolly Old St, Nicholas Toy To The World (0 Holy Night O Little Town Of Bethlehem lent Night We Wish You A Merry Christmas SOLOS, DUETS, TRIOS, QUARTETS Angels We Have Heard On High ‘Away In A Manger 0 Little Town of Bethlehem God Rest Ye Merry Gentlemen It Came Upon A Midnight Clear © Come, All Ye Faithful ‘0 Come, Come, Emmanuel Silent Night We Three Kings of Orient Are Good king Wenceslas Hark! The Herald Angels Sing ‘The First Noe! ‘We Wish You A Merry Christmas CIRCLE YOUR CHOICE ABOVE ‘Names:, Instruments:12 BAR BLUES Pts Ta Dist spo [a Blues (iriitsisee Bb Db Eb E F Ab Bb Scale (REEMgsc = c pp F G 12 Bar Blues Progression Chords: I I WI V Wt Measures; 222622) 12 Bar Blues Licks 1) 1-1-4-1-5-4-1 2) 4-b3-1 3) 1-b3-4 4) 4-b5-4-b5-4-b3-1 5) Descending Blues Scale 8-b7-5-b5-4-b3-1 6) 1-b3-4-b5-5 Solos 1) 1-1-4-1-5-4-1 2) 4-b3-1 1’) 1-1-4-1-5-4-1 (with improv) Ending) 8-8-8-b7-5-b5-4-b3-1Walking Bass Line - C Instruments (@ BbDFGAbGFD (@ BbDFGAbGFD (IV) EbGBbCDbCBbG () BbDFGAbGFD (v) FACD av’) EbGBbC () BbDFGAbGFD Walking Bass Line - Bb Instruments @ CEGABbAGE @ CEGABbAGE (Vv) FACDEbDCA @ CEGABbAGE (Vy) GBDE qv’) FACD @ CEGABbAGE Walking Bass Line - Eb Instruments @® GBDEFEDB @® GBDEFEDB (Vv) CEGABbAGE © GBDEFEDB (V) DF#AB (v’) CEGA @ GBDEFEDB1 2. 3. 6. i 8. 9. ADVANCED MUSIC . Fantasie for Flute and Piano, Gabriel Faure . Concerto in G for Flute, Wolfgang Amadeus Mozart . Sonate for Clarinet and Piano, Camille Saint-Saens }. Sonata in G Minor for Alto Saxophone, Henri Eccles . Rapsodie for Orchestra and Tenor Saxophone, Claude Debussy . Trumpet Concerto for Bb Trumpet and Piano, Johann Nepomuk Hummel Trumpet Concerto in Eb, Franz Joseph Haydn . Concerto for Trombone and Piano, Rimsky-Korsakov ). Concerto for Bass Tuba, Ralph Vaughan WilliamsSonata G minor Henri Becles (1670-1742) Salmon/Crovwell Grave CouranteAdagioVivace scat simileprepared this score in 2005 from J. Selmon's 1914 arrangement for violin and piano. [hereby dedicateEb INSTRUMENTS Amazing Grace John Newton Traditional arr. R. Rodriguez & Bernice © ¢ G7 Am FC ar Soprano Alto ‘Tenor Bass c G7 oc Cousae cSciTech Band Audition SYMPHONIC BAND AUDITION REQUIREMENTS 1) Concert BY Major Scale (One Octave, Memorized) — See p. 43 in Band Handbook 2) B’Blues Scale (Memorized) — See p. 46 in Band Handbook 3) Concert B? Chromatic Scale (One Octave, Memorized) — See Fingering Chart 4) Prepared Piece (Variations on Auld Lang Syne for Wind Playets)* Golo 11 for Percussionists) 5) Sight-Reading 6) Interview Additional Instructions -Symphonic Band play prepared solo for “Symphonic Band” xa points for playing “Concert Band/Jazz Band” solo -Extra points for playing a prepared solo from Essential Elements book 1, 2, 3, or anew song from the binder CONCERT BAND & JAZZ BAND AUDITION REQUIREMENTS 1) One scale selected randomly; district style - See p. 43/44 in Band Handbook (Bb Major, C Major, or C Minor) 2) B’Blues Scale (Memorized) — See p. 46 in Band Handbook 3) Concert B® Chromatic Scale (One Octave, Memorized) ~ See Fingering Chart 4) Prepared Piece (Variations on Auld Lang Syne for Wind Playets)* Golo 11 and/or Solo 12 for Percussionists) 5) Sight-Reading, 6) Interview Additional Instructions -Concert Band/Jazz Band play prepared solo for “Concert Band/Jazz Band” ‘ra points for playing a prepared solo from Essential Elements book 1, 2, 3, or a new song from the binder SciTech Band THE PRIDE OF SPRINGFIELDSYMPHONIC BAND AUDITION SCALE LIST Instrument Key C Instruments: Flute, Trombone, Baritone, Tuba, Piano, Mallets Bb Instruments: Clarinet Trumpet, Tenor Sax Eb Instruments: Alto Sax, Baritone Sax Concert Bb Major Scale C Instruments: Bb C D Eb F G A Bb Bb Instruments: C D E F G A BC Eb Instruments:G A BC D E F# G Concert Bb Blues Seale C Instruments: Bb Db Eb E F Ab Bb Bb Instruments: C Eb F Gb G Bb C Eb Instruments: G Bb C Db D F G Concert Bb Chromatic Scale C Instruments: Bb B C C# D Dit E F F# G G# A Bb Bb Instruments: C C# D D# E F Fi Eb Instruments: G Gf A Bb B C C#AUDITION SCORE SHEET (or Text Score Sheet) Name: Tam auditioning for (] Concert Band () Jazz Band SciTech Band (Stomp Percussion Ensemble (] Other. THE PRIDE OF SPRINGHIELD Please check all that apply. CATEGORY MASTERY PROFICIENT | DEVELOPING | _ EMERGING DESCRIPTION OF | « Indicate a mastery | © Reaches expecied (or | © lndicacs« ‘oTadicats an LEVELS level exceeding proficient) level for this | developing level for | emexging level for this expectations tak. this task tak ‘Student scely aceds | © Student produces | Studeat produces | « Student requzes assistance with «qalty work and required work with | constant teacher demanding tasks, is occasionally needs | teacher direction and | disection, support, ad self motivated, and | assistance with support assistance produces consistently | demanding tasks. | high-quality work. A100-50) B 69.80) c9-70) D5) (4 Poins) RHYTHMIC ‘ACCURACY (Points) NOTE ACCURACY (4 Points) ssl ‘DYNAMICS Points) ARTICULATION Point) INTONATION (Points) EXPRESSION (Points) SIGHT-READING (4 Points) PERCUSSION TECHNIQUE 36 Points Poosible | COMMENTSAudition Prepared Solo - Symphonic Band Alto Sax. & Baritone Sax Variations on Auld Lang Syne arr. Bernice ModeratoAudition Prepared Solo - ADVANCED BAND Alto Sax & Variations on Auld Lang Syne arr. Bernice Baritone Sax. Moderato2 a ANGELS WE HAVE HEARD ON HIGH Soprano AWe Say Traditional French Carol " Pe 3 2 in oy Tenor ig BassBirdland baieetaty Music by JOSEF ZAWINUL Arranged by MICHAEL SWEENEY Faer Roexlb-162-l6o) q — ee pe a ity rT amp a = a _ = 4 bi OBI SO (© 1977 & 1878 Mulatlo Music (BM) ‘This Arrangement © 1990 Mulatto Music (BMI) Intemational Copyright Secured All Rights ReservedAlto Sax ze > Gor 7 og 8 abo, (Coo W OMrIsa P2Birdland ALTO SAX2 Music by JOSEF ZAWINUL Arranged by MICHAEL SWEENEY Fer Rocxd=162-160) tele ii Wr 7 ; O8T2I5@1 © 1977 8 1978 Mulato Music ®M) ‘iis Arangement 6 1090 Mulato Muse @M) Intemational Copyight Secured Al Aighte ReservedAlto Sax 2 ee _. i i Go bah Dim. mg 8 Ds. AL 200A (Ca a oemzise! PzMelody Eb Blinding i ighty arr. Bernice ‘As Recorded by The Weekend With Energy J=170 solo/soli To Coda 4th Time 7 —— 22 cases seer ra]Melody Eb, p. 2 Blinding Lights DS.% al Coda 60 [H] @ Coda 62, solo(soth <_< eases eee fafp Rey pp ee § [SSS e 4 nf ae cis CT a ead =Countermelody Eb As Recorded by The Weekend With Energy J=170 [x BB] 7 8 4 8 Paige l ss = : % E To Coda 4th Time “I ¢ (recy arrest D.S.% al Coda 8 7 & ———— = = 11] @-Codamsi Blinding Lighty ‘As Recorded by The Weekend With Energy J=170 [a] B 8 g 2S SS f To Coda 4th Time 8 I T >>Blinding Lights Bass Line Eb, p. 2 > eee DS.% al Coda' Eb Blues By Five G Red Garland (©1065 Prestige Music Co. Used by Permission. Blues By Five is a 12-bar blues where sections of the motific melody are transposed to match the chord changes. This was originally played with a medium-swing feel. For your use ARABARAAADARDRDHH HH OMDE EDeevee vTZ ZT vee TTT wT TDTErerTDTr Terre we eee HY ~~~ ~~ ~~~ ~~ e Eb Supplemental Material - Blues By Five Sample Piano Voicings Basic 3-note voicings Rootless voicings CC a De CeCaED: bw 9 B 5 i 3 3 ” 3 1 i 3 ” Useful Scales G Blues Scale Sample Bass Line or ee eo tAlto Sax. Canon Remix Pachelbel /Arr. Bernice 5 B 4 8Careless Whisper — Melody Melody C — Flute Melody Bb — Trumpet, Clarinet, Tenor Sax Melody Eb — Alto Sax, Bari Sax Melody Bass Clef — Trombone, Baritone Piano — Chords Lyrics You really gotta sponsor us, Dm, Gm. Bb, Am All of the SciTech Band, We really need your money now, _, Just lend us a handCareless Whisper — Horn Lick Horn Lick C — Flute DFG FED DFG FED Horn Lick Bb (Low) — Clarinet, Trumpet, Tenor Sax EGA G FH E EGA G FH E Horn Lick Bb (High) — Clarinet, Trumpet, Tenor Sax EGA G FH E EGA G FH E Horn Lick Eb — Alto Sax, Bari Sax oe D cH B ee D cH B Horn Lick Bass Clef — Trombone, BaritoneCarol of The Bells Melody - Eb s -Alto aaa Quartet Version arr. Turgeon & Bernice -Baritone Sax e011Carol of The Bells Bass Line - Eb -Alto Sax Quartet Version arr, Turgeon & Bernice Baritone Sax rit [A] tempo - Repeat 4x f [D] Repeat 3x ©2011Chained To- The Rhythww Melody Eb ‘As Recorded by Katy Perry arr Bernice Groovy d= 103-105 Optional 4 bar vamp A a 3 aChained To The Rhythm Melody Eb, p. 2 To Coda (2nd Time) | 11 ere e i aes ereeer pra rea soli _—. DS. % al Coda 45 off-4 e eBMelody Eb, p. 3 Chained To The Rhythm [£] Coda a solo/soli mf ‘Top Notes Melody Bottom Harmony a saat ae eee onChained To- The Rhythww As Recorded by Katy Perry arr. Bernice Countermelody Eb Solo Part Eb Groovy d= 103-105 Optional 4 bar vamp 4 To Coda (2nd Time) = 3] wR [om] a 5]Countermelody Eb & Solo Part Eb, p. 2 Chained To The Rhythm [x] Coda ” solo line re ow Top Note HarmonyChained To The Rhythww ‘As Recorded by Katy Perry arr. Bernice Bass Line Eb Groovy J = 103-105 Optional 4 bar vamp ‘ © maf’ First 5 notes of each measure essential / others optionalBass Line Eb, p. 2 Chained To The Rhythm 20 To Coda (2nd Time) | 11] [x]Chained To The Rhythm Bass Line Eb, p. 3 ) Coda i (| >> SSSsssss SSSssssassy N I p I i pee ale I I BASS CANT SIM. leeGd b 6-7 | fee af Gee G7 e I pee Foe copyetsht © 1972 (Renewed) By Hancock tuete (BKC) ‘Chameleon Bass Line Score, Bb Eb Bass Clef High Bass Clef LowAlto Sax. Cheer # 1 arr. Bernice Wosch Conductor Slow-Fasti" Eb Cold Duck Time ; i Eddie Harris _ D G : fT pi ois Nie Sais aH tea faPea oe — E Gt bd G’ pb? Gr Bbua™ Cul po (©1969 Horgrove Music Corp. Copyright Renewed and Assigned to Seventh House Lod. Al Rights Resecved. Used by Permission Cold Duck Time has a 12-bar form, but it does not use the typical 12-bar blues chord progression. It was originally played with a straight-eighth feel. LKAMHHAKAHMHHAANKHAHANHAMM Ranma = = For your use QBGQGSGaHEAEEAEAREGS.&b Supplemental Material - Cold Duck Time Sample Piano Voicings Basie S-note voicings Rootless voicings Oy GT Bhd Cu D7 GT Bhal Cut! "7 3 3 3 5 9 7 7 3 Ww 7 7 3 W 5 5 1 1 1 1 un 3 3 3 Useful Scales D Blues Scale 8 Major (Boul) C Major 12 (Coal)Featured in the Twentieth Century Fox Television Series GLEE DON’T STOP BELIEVIN’ Words and Music by STEVE PERRY, ALTO Sax d NEAL SCHON and JONATHAN CAIN, (a) Arranged by PAUL MURTHA Copwight © 1961 Lacey Boulevard Music (BMD and Weed High Nghare Music MI) This arangement Copyrigt © 9010 Lacey Boulevard Musi @MI and Weed High Nigrmare Music (MI) 2801473 ‘All ghis fr Weed! High Nghe Mksle Admiisteted by Wixen Muse Publhi inc Dont Stop Belin’ = 1 iteration Copyirt Secured All Rigs ResevedALTO Sax i oesorars Dont Stop Belie¢-2Featured in the Twentieth Century Fox Television Series GLEE DON’T STOP BELIEVIN’ Words and Music by STEVE PERRY, AL tO Saxo NEAL SCHON and JONATHAN CAIN, “Arranged by PAUL MURTHA ( Rock) 8 == == - SEE] ce ee ‘This anergement Copigh © S010 Lacey Boulevard Muse (Bt) and Nigherare Music ND casoia7s ‘Al gts for Weed: High Nehimare Musie Acraisiered by Woren Muse bss Dont Stop Belen’ - 1 ‘restos! Copyigy Secired All REIS Reserved!ALTO Sax 2 oxsora73 Dont Stop Seley -2Flute Piano Clarinet Trumpet (Low) Clarinet Trumpet (HIGH) Allto Sax. Trombone Eye Of The Tiger rorzm A AG Piano: Am G Bass Line: A iFEELING 4000 2040 MAP 1) INSTRUMENTAL SOLO (optional) 2) VOCAL SOLO 3) HIT 4x 4) RHYTHM SECTION 2x (soft p) 5) FAST OPENING 2x (soft p) - “Birds Flying High” Small Group 6) RHYTHM SECTION 2x (soft p) 7) SOLO SECTION (optional) 8) HORN LICK 2X 9) RHYTHM SECTION 2X WITH BUILD UP 10) NASTY LICK 2x (loud f) — Piano hold notes 11) BACKGROUNDS (loud f) -Low Brass play HIT (optional) -POP LAST NOTE (on beat 1) 12) “And I’m Feeling Good” Ending (soft p)Feeling Good Swing Time ‘ (Bl Minor) Bb Bb_Ab Ab__Gb Gb oF Ab F Ab Flute Piano Clarinet Trumpet (Low) Clarinet Tenor Sax Tenor Sax Trumpet Octave Key HIGH (HIGH) ‘No Octave Key LOW G Alto Sax Octave Key HIGH No Octave Key LOW Bb Bb_Ab Ab Gb Gb oF Ab F Ab fan ‘Trombone Euphonium (HIGH) Positions: 1 Bb Bb Ab Ab Gb Gb oF Ab F Ab js Trombone Euphonium pee Steet os oe citi Soe B Sf ‘Top Notes Harmony Bottom Melody SS ‘Top Notes Harmony Bottom Melody — —Countermelody Eb Leé ¥ G roove arn, Bernice As Recorded by Earth, Wind, & Fire Dance Groove J= 125 A [B) i 7 soli 7 play 2nd time only REPEAT 3x optional 8vaLet's Groove Countermelody Eb, p. 2 Top Middle tf Melody Melody eam > 2 7 4 63 ‘Top Middle Top Middle Melody Melody [1] Melody Melody — 6 a y Bo ft nee > 7? > Dw Top Bottom Melody Melody 7a z = ia a >> 2 LNBass Line Eb Let ¥ G voove art Bernice ‘As Recorded by Earth, Wind, & Fire Dance Groove d= 125 [4] [B} 4 4 Repeat. f é To Coda 3rd Time ] a 6 7 8 8 aMy Way And now the end is near, And so | face the final curtain, My friends I'll say it clear, V'll state my case of which I’m certain, I've lived a life that’s full, | traveled each and every highway, And more much more than this, | did it my way...Alto Sax My Way Don Costa trans. Jerannchris Rivera-Heredia4 Eb OVER THE RAINBOW Words and Music by EY. HARBUAG and HAROLD ARLEN ‘Arranged by JACK BULLOCK Stowwy 7 q ef ‘Copy ©1938, 1939 (Renewed 1966,1967) METRO-GOLDWYN-MAYER INC. ‘Al igh Consoted by LEO FEIST,ING. [AURight of LEO FEIST INC. Aigned SBR CATALOGUE PARTNERSHIP ‘A Right Adminstered by SK FEIST CATALOG Ine, International Coppeght Secured Maden U: She Al Rait ReveredKaiaDow- ED Boor eee eee HH PPETPRPe i a of vitae. Woy ritard.PEP BAND CHEERS Superman So So Do So So Do So Do / So So Do So So Mi Re Re Imperial March Mi Mi Mi Do So Mi Do So Mi Iron Man Mi So So La La Do Ti Do Ti Do Ti So So La La (Repeat) Mari Bros Mi Mi Mi Do Mi So So Malaguena Mi Mi Mi Mi Fa Fa Fa Fa So Fa (Repeat) Harmony Ti Ti Ti Ti Do Do Do Do Re Do (Repeat) Get Ready For This So So So Do Do Re Re So So So Te Te Do Do So So So Do Do Re Re So So So Te Te Do Re Eye of The Tiger So So Fa So So Fa So So Fa Me (Repeat) Harmony Te Te La Te Te La Te Te La So (Repeat) More... Suavemente: Groove (Cm-G-G- Cm) (Minor Groove: (C Minor) Antonio Groove: Do Te Le So (Bb Blues) Harmony: So Fa Me Re 12 Bar Groove: (Bb Blues)Pomp & Circumstance Sir Edward Elgar Alto Sax - MELODY_ Two Ceremonial Marches Alto Saxophone 1. Processional Pomp and Circumstance March No. 3 EDWARD ELGAR, Op. 39 Arranged bv James Swearingen ris, = > > Maestoso div, ‘YBS 54 - B Anaante 48 —=F 7 Copyright = 1980 by Cart Fischer, tne “Iinernational Copyright Secured.Santa Claus Is Comin' To Town Melody - Eb Coots & Gillespie arr. Bernice Moderate Swing % c To Coda 7 DS.al Coda] Hels aoe ree NE te 2011Santa Claus Is Comin' To Town Eb Bass Line Coots & Gillespie arr. Bernice Moderate Swing % G c @ a7 ¢ cm @ em 7 Am? DT OG a ° g } ° 3 ° Em To Coda D7 Dkdim Em AT D7 Das G c G G7 C Cm G Em geo Am? D7 G BE Am7 p7 a e201E b Sight Reading ExercisesAlto Sax. Simple Gifts ‘Traditional from Appalachian Spring Aaron Copland (1900-1990)Sponsor Song 2017 - Melody C INSTeUMENTS (TeesLe) 8-FLAT INSTEUMENTS (HigH) parr cot S-FLAT INSTEUMENTS (Low) pe Sas= E-FLAT INSTOUMENTS C INsTeUMENTs (Biss) Ee Se ¥ St fat = ‘Tusa Lyrics SciTech Band! We need your money, your money right now. Show us love, come be a sponsor, a sponsor, right now.Sponsor Song 2017 - Horn Lick ¢ Insteumenrs (Teesue) G FG Bb GFG G FG Bb GF G 8-FLAT INSTRUMENTS (HiaH) 4 pup FP pn pata P ee jl AGA CC AGA AGA C AGA S-FLAT INSTRUMENTS (Lows) AGA ¢ AGA AGA ¢ AGA E-FLAT INSTEUMENTS: 7. _ _—— — $63 teeey EDE SG E ope EDEG E DE ¢ Insreumenrs (Bass) Chords Gm, Bb, Dm, FTHE STAR SPANGLED BANNER arr. by Robert W. Smith Eb Alto Saxophone (ASCAR) Majestic ao 024.3860-00 ve © 2009 Birch Inland Musi Press (ASCAP), PO: Box 60, Oskaloose:fowa $2877 USA Sevnred. AI'Rinhts reserved. Printed i U.S.A.STUOENT GROOVE ROAD MAP 1) Groove 4x (soft p) 2) Groove 4x + Clapping 3) Groove 4x + Small Ensemble Horn Lick 4) Groove 4x + Small Ensemble Horn Lick + Smooth Lick + Build Up Last 2 5) Hit 4x (loud f) 6) Solo Section (soft p) 7) Groove 4x + Smooth Lick + Build Up Last 2 8) Drum Solo 8x (loud f) Staccato (short) Piano Notes 9) Hit 4x 10) Ending HoldHORN LICK Cinstruments: E—BBA Bb Instruments: F#—C# C# B Eb Instruments: C#—G# G# F# SMOOTH LICK C Instruments: E—DE Bb Instruments: F#—E F# Eb Instruments: C#—B C# HIT CInstruments: B-B-B-B-B B-B A-B Bb Instruments: C#-C#-C#-C#-C# C#-C# B-C# Eb Instruments: G#-G#-G#-GH-G# GH-G# F#-G# PIANO GROOVE Bass Line: EBBA Chords: G Bm AmMelody Eb As Recorded by Elvis Crespo Elvis Crespo arr, Bernice NS erent gg foe] = i ©2011-2012Melody Eb, p. 2 7 x optional solo 3 Suavemente 7 — 1] options soto NJ Repeat 4x ‘optional soloCountermelody 1 Eb ‘As Recorded by Elvis Crespo Elvis Crespo arr. Bernice ©2011-2012Countermelody 2 Eb As Recorded by Elvis Crespo Elvis Crespo arr, Bernice ran] REPEAT 3x Ht] ‘play 2nd & 3rd tme only s—~ oe ete? te 27 meee serne tite 6 ooht-2012Countermelody 2 Eb, p. 2 SuavementeBass Line Eb : As Recorded by Elvis Crespo Elvis Crespo arr, Bernice ©2011-2012Bass Line Eb, p. 2 Suavemente [ii] eerear x (Sapa StBb ParrLow (Maron) The Swallowtail Jig ‘Traditional Irish arr. Bernice cm B chm B chm chm tm chmBb ParTHIGH (D MAJOR) The Swallowtail Jig ‘Traditional Irish arr, Bernice chm cin chm Gam chmTHE TEMPEST E> ALTO SAXOPHONE ROBERT W. SMITH With energy! a is PuBLisiING CORP scan) ‘RD9S61 anni Adm MER avs POmLC eRSapyrlant Renewed copretaht © 1956,, 1900 Prestige Manica2 — aa ot 40) S100 Wag PRUE TAA MOT ypsapy ue sdn-uey, xBg OYNEW ENGLAND : CONSERVATORY necmusic.eduAlto Sax Name hd Please write the note names for 4431, measures 1-4 31. A MOZART MELODY 32. ESSENTIAL ELEMENTS QUIZ Draw these symbols where they belong and 6 4 - write in the note names before you play: ‘Eb ALTO SAXOPHONE BOOK i 2°] ESSENTIAL | ELEMENTS PLUS COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK a HA LEONARD*THE BASICS Posture Sit on the edge of your chair, and always keep your: + Spine straight and tall + Shoulders back and relaxed Feet flat on the floor Breathing & Airstream Breathing isa natural thing we all do constantly. To discover the correct airstream to play your instrument: + Place the palm of your hand near your mouth. + Inhale deeply through the comers of your mouth, Keeping your shoulders steady, Your waist should expand like a balloon. + Slowly whispertoo"as you gradually exhale air nto your palm. ‘The air you feel is the airstream. It produces sound through the instrument, Your tongue is like a faucet or valve that releases the airstream. Producing The Essential Tone Your embouchute (ahm -bak-shure) is your mouths position on the mouthpiece ofthe instrument. A good embouchure takes time and effor, so carefully follow these steps for success: REED PLACEMENT + Put the thin end of the reed in your mouth to moisten it thoroughly. + Looking at the fiat side of the mouthpiece, the ligature screws extend to your right, Slide the ligature up with your thumb, + Place the flat side ofthe reed against the mouthpiece under the ligature + Lower the ligature and position the reed so that only a haitine of the mouthpiece can be seen above the reed. ~ Gently tighten the ligature screws. EMBOUCHURE + Moisten your lips and roll the lower lip over your bottom teeth, + Center the mouthpiece on your lips and place it in your mouth about 1Rinch. + 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 Taking Care Of Your Instrument Before putting your instrument back in its case after playing, do the following + Remove the reed, wipe off ex- cess moisture and return itto the eed case + Remove the mouthpiece and wipe the inside with a clean loth, Once a week, wash the mouthpiece with wart tap veater. Dry thoroughly. + Loosen the neck screw and remove the neck. shake out excess moisture and dry the neck with a neck cleaner. + Drop the weight ofa chamois or catton swab into the bel Pull the swab through the body several times. Return the insrurent tots cas. + Your case is designed to hold only specific objects you try to force anything ese into the case, ft may damage your instrument. 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, o——> | REST | o-——— | REST "0" "30"g It Together If you just played the MOUTHPIECE WORKOUT, begin by carefully removing the reed. Otherwise, take the reed from its case. Step 1 Carefully put the thin end of the reed in your mouth to moisten eee thoroughly. Rub a small amount | cof cork grease on the neck cork, ifneeded. Clean hands. Step 2 Hold the body of the saxophone ligature near its upper end and remove the end plug. Loosen the neck screw and gently twist the neck into the body. Be careful not to bend any keys. Tighten the neck screw. Step 3 Carefully twist the mouthpiece on octave key. the neck so that approximately loft thumb rest. 1/2 of the cork remains uncovered. Place the reed on the mouthpiece (see page 2) Step 4 Place the neck strap around your neck and attach the hook to the ring on the back of the saxophone, Adjust the length of the strap so you can comfortably put the mouthpiece in your mouth, right thumb rest a € : ‘Stop 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 Identify and draw each of these symbols: Music Staff Ledger Lines Measures & Bar Lines The music staff has 5 lines Ledger lines extend the music and 4 spaces where notes staff. Notes on ledger lines can and rests are written, be above or below the staff. Measure Measure 2 2 a Borline Bartine Bar tine Bar lines divide the music staff into measures.To begin, we'll use a special“Long Tone’ note. Hold the tone until your teacher tells you to rest. Practice long tones each day to develop your sound. Long Tone oem 1. THE FIRST NOTE Hold each long tone until your teacher tells you to rest. REST. 2 Toplay"0,“place your fingers on the keys as shown. The Beat The beats the pulse of music and ke yourheartbes t Should remain sor stendy. Courting sou nd foottapping tetp us minan steady beat. Tap your foot down on each purer and upon each" onebeat =1 8 a cuarterNote ut Notes And Rests Notes tellus how high or low to pay by their placement on a ne or space ofthe music staff and how long to play by their shape. Rests tell us to count silent beats Theat silent beat X quarterRest = COUNT AND PLAY -e—e—o- ph ee ee ae Coun; VOD OD EAR TEPHI HAL 1E2EFHFR THPET ESE me FTE TE TET LTE TITS VTLTI TIT GteTuTat ‘A NEW NOTE 09 Look forthe fingering diagram with each new note, = Cc = | REST Cn REST — 8 an é TWO’S A TEAM Couto: 182A SH4e THES RHE 1 Tereseae HEADING DOWN Practice long tones on each new note. 001008 MOVING ON UP f Come to 14283848 Te2eFeee Te2Hs eae 1‘Without stopping. play once again from the beginning, Double Bar ——— =f] insiaetheens Repeat Sign — of apiece of music, 7. THE LONG HAUL ve Double Bor + A? 4 8 8. FOUR BY FOUR Repeat Sign Coutgtp: VRP RE RAE 9. TOUCHDOWN aE | Va2ese4e Tere sede THrzerese Treble Clef Time Signature Note Names (scier) indicates how mary beats per measure Each notes on alne or space ofthe staff. These indicates the and what kind ofnote gets one beat. note names are Indicated by the Tebl Clef position of note fhames on a music GE beats per measure —————— sr o-0= staf. Second ine Quarter note gets one beat = = iso. ore z Sharp — § risesthenove and remains efector he ene messore : Flat b towers the note and remains in effect for the entire measure. Natural § cancels flat or sharp (f) and remains in effect forthe entre measure 11. READING THE NOTES compare this to exercise 10, THE FAB FIVE. 6S eS See Tatas eae tezeceee Terese Ke THPERETE 12. FIRST FLIGHT = 13. ESSENTIAL ELEMENTS QUIZ. Fillin the remaining note names before playing BRS aaa o t GAB =Notes In Review ‘Memorize the fingerings for the notes you've leamed: 14, ROLLING ALONG , Goto the next line. 7 : Bouble Bar y * —— | Half Note Half Rest o> =2 Beats = 2 Silent Beats - = dere Tare 15. RHYTHM RAP Cap theshythm while counting and tapping. pe oasege \ oat) ddd ent Te2e3ede 1e2eSeAe TePHTEAE THPATEAS THIAIHSH TEDERESD 16, THE HALF COUNTS = = a =n aS ree oh 3 : 1O2H304e TEPHZE4e THDHSAAK TE2VTHAE 1H2ETESE TEPETAAH 17, HOT CROSS BUNS check your embouchure and hand position, oF Breath Mark 9 Take a deep breath through your mouth after you play a full-length note. 18, GO TELL AUNT RHODIE American Folk Song, © 0 ¢ 8 € BAG A 8B CeeeeeeWhole Nate Whole Rest Half Rest AWhole Measure of Silent Beats Vae2resese Vereaeae hangs fiom — sitsona astaffline. staffline, O———> = 4 Beats 20. RHYTHM RAP Ciap the rhythm while counting and topping, ese ie 1 Ve2esade 1e2e3e4e 1e2e3e4e 1e2H304e THI2eZeAA 1e2ET EE 21, THE WHOLE THING oe Ve2esede 1e2eFu4e Te2eILAA 1h24344e 1A2A3H4E THI2HZESE =e rr Duet Acomposton with two diferent parts flayed together 22, SPLIT DECISION - Duet Signature ‘he music, Your Key Signature indicates the Ke of play al F's a5 shorps Key a ‘The Key Signature telus which notes to ply with sharps) o Ras (b) throughout i 23. MARCH STEPS 3 Play F's 24, LISTEN TO OUR SECTIONS Percussion Woadwinds Brass Percussion Woodwinds Brass Per. Ww Base Al 26. ESSENTIAL ELEMENTS QUIZ Draw io the bar lines before you ploy. BeteFermata mo Hold the note (or rest) longer than normal 27. REACHING HIGHER - New Note Hq P*22tice long tones on each new ote. Fermata y 29. REMIX = I = io = 2 ‘2 Harmony “Two or more notes played together. Each combination forms a chord. 2 30. LONDON BRIDGE - Duet English Folk Song A B Busan compose Waligng Amadeus Monat (1756-1781 wns child prodigy wh started ying poesia BS BihoVnpastem unghie enc opin pce bund on he nus ng we Te Ue a 31, A MOZART MELODY Adaptation re t 7 32. ESSENTIAL ELEMENTS QUIZ Diaw these symbols where they belong and 6 l 4 write in the note names before you ploy =33. DEEP POCKETS - New Note Fi tsa ig 34. DOODLE ALL DAY 3 One or more notes that come before the fist full measure. The beats of Pick-Up Notes are subtracted from the last measute. Up Notes 36, A-TISKET, A-TASKET —- 4 aueisies cas Vezaae pre Ff (leyoudhy nf mez fote (ay modesty ous) _p ~piano (ly sty) Remember to use full breath support to control your tone at all dynamic levels. 37. LOUD AND SOFT dete d ie ig oddest dy . y 38. JINGLE BELLS Keep your fingers close to the keys curved naturally, 4.5.Pierpent a nf P10 Eighth Notes ' Ja sheen nn wo ormore Eighth —_y Beam 2 Eighth Notes = 1 Beat . Notes have a beam Ja al = Jai 7 & — Playondown andup tps. Te2e across the stems, 40. RHYTHM RAP. clap:he:nyttm white counting and topping lap fom an jas Bae e2es ede PH 2eF eae THE2PAT HAE TEDHT EAE 41. EIGHTH NOTE JAM Ho Pere 3ese 18263 44e2 TH2ES EH THDET OBE 42, SKIP TO MY LOU ‘American Folk Song pp Ew z ° g * @ $ Zz 4 $ g Z FE taian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very proficient on the piano, Bom ana Heswote "wit eat age 70 hes sft opetos ands ii theme i ed on = * tadio and television. Gioacchino Rossini ers3 Time Signature Conducting { \ 2 Conan eee = GE S oenies aan pce tas parsabttient aie Ej 46. RHYTHM RAP Pi Oa ay AAAs fe eae 47. TWO BY TWO a. . : == fee ee <= £ Se taza teze 1e2ererze rere Tempo Markings "70% thespeedof msc. Tempo makings usally writen abve the satin alan Allegro~Fast tempo Moderato - Medium tempo Andante ~ Slower walking tempo 48. HIGH SCHOOL CADETS ~ March Allegro eae oy a : Ser l John Phitip Sousa 49. HEY, HO! NOBEDYS HOME - New Note Moderato Bg | eee Dynamics Crescendo (gradual louder) Decrescendo or Dimiauendo (aradually soften 50. CLAP THE DYNAMICS ee — ea 51. PLAY THE DYNAMICSPERFORMANCE SPOTLIGHT 52. PERFORMANCE WARM-UPS TONE BUILDER RHYTHM ETUDE eo ee 53. AURA LEE - Duet or Band Arrangement (Part A =Melody, Part 8= Hormony) Andante George R. Poulton 54, FRERE JACQUES ~ Round (When group A reaches ® group 8 begins at) ModeratoPERFORMANCE SPOTLIGHT 55. WHEN THE SAINTS GO MARCHING IN - Band Arrangement Allegro Measure number Arby John Higgins 56. OLD MACDONALD HAD A BAND - Section Feature a a nf =} a | 2nd time goon to meas. 13. ba P 4 _ setae = == Sa ee | © i 57. ODE TO JOY (from Symphony No. 9) Ludwig van Beethoven 4 Moe 4 f of 58. HARD ROCK BLUES - Encore Allegro John Higgins a =k eH 7S SSS“4 ‘curved line connecting notes ofthe same pitch. Play Tie ‘one note for the combined counts of the tied notes. = 2Beats 59. FIT TO BE TIED 2beats § 60. ALOUETTE French-Canadian Folk Song Get cee Al Beats 5 Dotted Half Note d. eh wa sets d.< ve deed Terese Adot adds half the value ofthe note 2 bent + Theat = Sbeats 61. ALOUETTE - THE SEQUEL French Canadian Folk Song 3 mercancompoter Stephen Colins Foster (1826-186) was born near Pitsburg, PA. Hehs become the mos recoghzed Serena of hte for warts such se‘OhSusonne which Became pul during the California Gld Rush of 18. ] _mongs most wel noun song e"My ld Kathy Home and"Eampoun Races" 62, CAMPTOWN RACES ‘Stephen Collins Foster Allegra : o ons 3beats 65, ESSENTIAL ELEMENTS QUIZ abs. Time Signature Conducting 3 = Quanernotcgat one best threebest pater B 66. RHYTHM RAP Gor PEED 7 ei el Ve2ade Te2ade 1e2e3e 122038 Te2eZe 1HA2eTH THIeZe 1E2E5e 67. THREE BEAT JAM : 5 Spat moat raed BEE: 1e2e3e tezese Va2eae tazege Tazage 1a 2036 147036 68. BARCAROLLE ) Moderato oe of Jacques Offenbach =e i Norwegian compose Edvard Greg (1643-1967 wrote er Stor ly by Hen ann 1875, te year = betuctictcophene wet merely slearae conemaes ese ee ee ere g tsedin ply rin fin an lotson ealed casa : 69. (from Pe MORNING « ym Peer Gynt) Edvard Grieg P Accent enotaszetenote 70. ACCENT YOUR TALENT Pdi dt y 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 2s 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, ‘AMOLSIH 71. MEXICAN CLAPPING SONG (“Chiapanecas”) Latin American Folk Song “7 - a es 72. ESSENTIAL CREATIVITY Compose your own muse for measures 3.and 4 using his hyth doi S77) d | iTHEORY > Accidental ‘Any sharp Rt or natural sign which appears in the music without being in the key signature i called an accidental. 73. HOT MUFFINS - New Note Fét Natural { Anatural sign cancels a flat (by or sharp (#) Sndtemaine eft forthe cre measure 1 Natural applies to all sin measure. 2 74, COSSACK DANCE eesti fae a esis SS as Se ea ; Z Natural applies to all's in measure. tee Fes ; New Key Signature — ‘This Key Signature indicates the Key of C{no sharps or flats. THEORY 76. HIGH FLYING Moderato Ist & 2nd Endings Play through the 1st Ending, Then play the repeated section ‘of music, skipping the 1st Ending and playing the 2nd Ending, time Japanese folk music actually has its origins in ancient China, "Sakure, Sakura was performed on instruments such as the koto, 13-string instrument that is more than 4000 yeats old, and the shakuhachi or bamboo flute. The unique sound of this ancient Japanese melody results ftom the pentatonic (or five:nota) sequence used in this tonal system, Japanese Folk Song Arby John Higgins78. UP ON A HOUSETOP 79. JOLLY OLD ST. NICK - Duet Moderato ie See page 9 for additional holiday music, MY DREYDL and JINGLE BELLS, 80. THE BIG AIRSTREAM - New Note 4 Beas] 36 + WALTZ THEME (THE MERRY WIDOW WALTZ) Ec Franz Lehar mf of 82. AIR TIME 83. DOWN BY THE STATION Allegro mf 84, ESSENTIAL ELEMENTS eu Moderato ZB :18 a ZB DAILY WARM-UPS so soscours ron rones recumioue 86. TONE BUILDER Use steady stream of air. 87. RHYTHM BUILDER ees 89. CHORALE (Adopted from Cantata 147) Johann Sebastian Bach i 'A musical form featuring a theme,or primary melody, Theme and Variations showed by variations or atered versions ofthe theme ‘THEORY. 90. VARIATIONS ON A FAMILIAR THEME Theme Vesiation 4 ff fee Vaviaton2 Jae ‘ ‘tthe D.C.al Fine play again from the beginning stopping at Fine (ee nay D.C. al Fine 1.C.{s the abbreviation for Da Capo, orto the beginning,"and Fine means the end” 91. BANANA BOAT SONG ‘Moderato Caribbean Folk Song D.C. al Fine= A sharp sign rises the pitch ofa note by aha step. The note Csharp sounds ahalfstep 2 Sharp “tow CandallCsbecome Cato forte eiel husmnoaeahes theyre 3 92, RAZOR'S EDGE - New Note 93. THE MUSIC BOX Moderato See Pp 3G Pt 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. ‘AYOLSIH 94, EZEKIEL SAW THE WHEEL pas Sf Afican-American Spirituat Ge 95. SMOOTH OPERATOR 2 Slur 2 notes - tongue only the frst 96. GLIDING ALONG Sie ee 2 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 I. Ths early form of Jaz brought fame o plants ke Sly Ral Morton and Scot Jopin who wroteThe Entra’ ond Maple Leal fag & Surprisinaly. the style was incorporated into some orchestral music by Igor Stravinsky and Claude Debussy. ‘The trombones now lear to play a glissando,a technique used in ragtime and other styles of music. 2 97. TROMBONE RAG Allegro cau i z= @ t 98. ESSENTIAL ELEMENTS QUIZ Andante Fine D.C.al Fine Al ZB =aw 99. TAKE THE LEAD - New Note e ee f eS j 6 : === = ‘A musical "sentence" which is often 2 or 4 measures long, Try to play a phrase in one breath, EB hrase = 100. THE COLD WIND 101. PHRASEOLOGY Write nthe breath mark(s) between the phrases. aoe eeeasecEt : = St Fh p f [5 __ New Key Signature Multiple Measure Rest 7 Bist signature Te number above he staf tls you = indicates the Key of D ~ play how many full measures to rest, ESF 4 all Ps and Cs a8 sharps. Count each measureofrestinsequences "awa gay 102, SATIN LATIN Allegro German composer Johann Sebastian Bach (1685-1750) was part ofa large family of famnous musicians and bbecame the most recognized composer of the Baroque era, Beginning asa choir member, Bach soon became an organist,a teacher, and a prolific composer, writing more than 600 masterworks. This Minuet,or dance in 3/6 time, was written as a teaching piece for use with an early form of the plano. HISTORY Johann Sebastian Bach 103. MINUET - Duet Moderato 104, ESSENTIAL CREATIVITY this melody can be played in 3/4 or 4/4. Pencitin either time signature, draw the bar lines and pay. Now erase the bar lines ond try the other time signature, Do the phrases sound diferent? E¢ ee == ee eee105. NATURALLY 24 the te emer Austrian composer Franz Peter Schubert (1797-1826) lived a shorter life than any other great composer, but he Steated an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment, ten Simphonies, chamber music operes choral works and piano pieces. His*March Militaire" was originally a plano dust, mS 106. MARCH MILITAIRE Allegro below 8, and ail 8's become B-flats for the rest of the measure where they occur, oye eee anes 3 teerttep el tee Saari isos tf eS 9-Ft : z Flat —_Aflttsoniowersthe pitch ofa note by hal step, The note fat sounds hasten i 107. THE FLAT ZONE - New Note Bb $= 108. ON TOP OF OLD SMOKEY Allegro es = Boogie-woogie isa style of the blues, and it was firs recorded by pianist Clarence Pine Top" Smith in 1928, ‘one year after Charles Lindbergh’ soo fight across the Atlantic. A form of jazz, blues music features altered Notes and Is usually written in 12-measuie verses, ke “Bottom Bass Boogie." 109. BOTTOM BASS BOOGIE - Duet Allegro ROOLSIHded Dotted Quarter detail “TE asta . the value ofthe note has al & Eighth Notes Bears Gunter note onite stem te2ze 110, RHYTHM RAP = go OL Lo 4. Te2eg ese 18223 e848 TH2ER 11, THE DOT ALWAYS COUNTS = = i Te dese ee Te2HFeah TH2HTeAE TERARAAS 112, ALL THROUGH THE NIGHT 7 a Deal Fie See es mf P 113. SEA CHANTY Aiwaysuse a full airstream. English Folk Song Moderato tf nf 115. RHYTHM RAP Cop fad. De2esese Tezesase Tezazsaae ar2eseae 116, THE TURNAROUND = =~ Terzezede Beau THe? W7. Lacey teiend ELEMENTS QUIZ - AULD LANG SYNE ‘Scottish Folk Song Anne LA = i ape oP = Bi ape le deel Det a=] ye mf 3 Check Rhythin23 PERFORMANCE SPOTLIGHT Solo with Piano You can perform this solo with or without a piano accompanist. Play it for the bandl, the school or your family. Itis part of Symphony No.9 (“From The New World”) by Czech composer Antonin Dvorak (1841-1904). He wrote it while visting America in 1893, and was inspired to include melodies from American folksongs and spirtuals. Ths is the Larga (or"very slow tempo") theme. 118. THEME FROM “NEW WORLD SYMPHONY” [B)~ measure umber Antonin Dvordk = Blsoner 9Great musicians give encouragement to fellow performers. On this page, clarnetsts learn their instrurments' upper register in the “Grenadilla Gorilla Jumps" (named after the grenadilla wood used to make clarinets). Brass players Tarn ip slurs, a new warm-up pattern. The success of your band depends on everyone's effort and encouragement. 119. GRENADILLA GORILLA JUMP No. 1 121. GRENADILLA GORILLA JUMP No. 2 - New Note A = 122, JUMPIN’ FOR JOY 4 oe epee 2 123. GRENADILLA GORILLA JUMP No. 3 124. JUMPIN’ JACKS o> fe pes r ay oe @ + ‘The distance between two pitches i an interval, Starting with"I*on the lower note count each tine = Interval ya space between the notes. The number ofthe higher note is the distance of the interval. Sp znd— 3rd — ath —— 5th = th: 7th 1 Octave 1 2 = = @ 2 zB} 7S 2 78 = a oF oO? a o7 oO? 125, ESSENTIAL ELEMENTS QUIZ writen the numbers ofthe intervals counting up from the iower notes. y Intervals: 2nd 4126. GRENADILLA GORILLA JUMP No. 4 eqttrnt acre 130. CROSSING OVER 2 Trio ‘Atria is a composition with three parts played together. Practice ‘his trio with two other players and listen for the 3-part harmony. 131, kum BAH Ae ~ Wei Always check te ey sora / fet ecg ARepeat the section of music enclosed by the repeat signs. Ast pd nd endings oe wed hey re ployed 2s sual but ‘go back only fo the first repeat sign, not tothe beginning) Repeat Signs 132. MICHAEL ROW THE BOAT ASHORE African-American Spiritual Andante . ae . : af = a) 133. AUSTRIAN WALTZ Austrian Folk Song ae = = f 134, BOTANY BAY ‘Australian Folk Song Allegro, ~ of € Time Signature Conducting Ge = Common Time : : ractice conducting Gameash) inturbos pte, 135. TECHNIQUE TRAX Proctice at all dynamic levels THEORY > 136. FINLANDIA ‘Andante _———_ __ Pan sibel = P 137. ESSENTIAL CREATIVITY Grote yor ou vorations by pecllg in adot nd oo tochangethe rhythm ofenymecsue tom Id J wold. ol138. EASY GORILLA JUMPS + sere elec ecreareae oo = crefel 139. TECHNIQUE TRAX Always check the key signature, Gel “Sea se Epa 141, GERMAN FOLK SONG Moderato cae 142. THE SAINTS GO MARCHIN’ AGAIN anes James Black and Katherine Purvis t i fleaaaeeeeacen| Ae = H ee = nee & = 143. Pee ne GORILLA WALK ce; 3X 3 or Z Alternate fingering 99 f 4 2 4 3 é Use alternate C fingering Use alternate fingering 144, SMOOTH SAILING ee See 145. MORE GORILLA JUMPS 146, FULL COVERAGE eas === t 4 Use alternate C fingering‘A seale isa sequence of notes in ascending or descending order. Like a musical "ladder," Scale teach stop isthe next consecutive note in the key. This scale is in your Key of G (one sharp), s0 the top and bottom notes are both G's. The interval between the G's is an octave. ‘THEORY 147. CONCERT Bb SCALE (Alto Saxophone ~ G SCALE) a Octave Seale (-————— 0tave———, 1 2 4 Steps: 3 Piet setae) Tires eHiraaeeaierra tii, When two or more notes are played together, they form a chord or harmony. This G chord is built from the 1st, 3rd and Sth steps of the G scale. The 8th step isthe same as the 1st,but itis an ‘octave higher. An arpeggie is a"broken’ chord whose notes are played individually. THEORY 148. IN HARMONY Divide the notes of the chords between band members and play together. Does the arpeggio sound ikea chord? 1 Aipeagio—, 1 -Arpeasio: chord Hee geese see Chord B53 5 149. SCALE AND ARPEGGIO Seale Arpeggio Scale Arpeggio ‘Austrian composet Franz Josef Haydn (1732-1809) wrote 104 symphonies. Many of these works had nicknames chanced billons unique elects forthe te, His Symphony No 9 wer named The Surprise Symphony” because the soft second movement included a sudden loud dynamic, intended to wake up an often sleepy FE audience. Pay special attention to dynamics when you play this famous theme. 150. THEME FROM “SURPRISE SYMPHONY” Franz Josef Haycin Andante a he PoE ot : 2 pee e = a 151. ESSENTIAL ELEMENTS @\ Write in the note names before you play. = gePERFORMANCE SPOTLIGHT 152. SCHOOL SPIRIT - Band Arrangement Wr Purdy March Style Arr-by John Higgins Soli \When playing music marked Sol, you are part of @ group”solo” or group feature. Listen carefully in *Cammival of Venice,” and name the instruments that play the Soli part at each indicated measure number. 153. CARNIVAL OF VENICE - Band Arrangement Julius Benedict Amrby Jobn Higgins Allegro eela B 154. DAILY WARM-UPS workouts ron roca recunioue RANGE AND FLEXIBILITY BUILDER 155. TECHNIQUE TRAX 156. HISTORY CHORALE Johann Sebastian Bach aa" a year ‘The traditional Hebrew melody Hatikvah has been israe's national anthem since the nations inception. At the Declaration of State in 1948, I was sung by the gathered assembly during the opening ceremony and played by members ofthe Palestine Symphony Orchestra at its conclusion. 157. HATIKVAH Israeli National Anthem Andante és — oboe afEighth Note & Eighth Rest = V2 beat of sound 1/2 beat of silence FIT) do ds JJJd rdrd 158. RHYTHM RAP FID SYD jody by jdy dy Dy 4 TL det chy ode 159. EIGHTH NOTE MARCH fen eee aa e a —-— 7 160. MINUET sete nf = | 161, RHYTHM RAP lop a Ve ee Terzasaeae aL ad e2e de 4a teres 162. EIGHTH NOTES OFF THE BEAT 2 af SE-- Tarze saga I = SI Tere zsadca Ter2esege 163. EIGHTH NOTE SCRAMBLE Bee - Fe = ot 164, ESSENTIAL ELEMENTS QUIZ Andante B a P32 165. DANCING MELODY - New Note ee ‘American composer and conductor John Philip Sousa (1854-1932) wrote 136 marches. Known as“The March King,” s a8 é : . Be sSinvere eStore dips Forer Semper es Irena Pos nd mony other pate wos Sus $ band performed all over the country and hs feme helped boost the popularity of bands in Ameria, Here Isa melody = romhis famous EICapitan operetta and march 166. EL CAPITAN pets John Philip Souse — ee SS f ee St smerly known as the ‘National Song," was first performed during 1880 in French Canada. Robert ‘Stanley Weir translated the English language version in 1908, but it was not adopted as the national anthem of Canada until 1980, one hundred years after its premiere WisTORY 167. O CANADA Calixa Lavallee, ‘Hon Judge Routhier Macstoso (Majesticaly) and Justice RS. WeirEnharmonics Tones dee aan yond op pa ent 2 meat eisocinn aang se “eesen eet s called enharmonics. Your fingering chart on pages _a sharp: = ceecennae Be : 169. SNAKE CHARMER Enharmonic notes use the same fingering, B/DE @ 170. DARK SHADOWS “Pick-up note 171. CLOSE ENCOUNTERS | Enharmonic notes use the same fingering. : BL/AR @ ie! 172, MARCH SLAV Largo i 173. NOTES IN DISGUISE omati Chromatic notes are altered with sharps, flats and natural signs which ae nt inthe Ch atic key signature. The smallest distance between two notes is a half-step, and a scale made up of consecutive halfstep scaled a chromate scale. Notes 174, ne een e Fig ee Altemate © fingering a Feat34 5 French composer Camille SaintSagns (1835-1921) wrote music for vitally every medium: operas, suites, symphonies and chamber works. The Egyptian Dance"is one of the main themes ftom hs famous opera B —_samsonet Delian. The opere was witten nthe same yer that Thomas Edson invented the phonograph-—187? 175, EGYPTIAN DANCE Watch orenarmonics. Came aes Allegro, es et = 76, SILVER MOON BOAT af D.C.atFine sz Eo ae eeeeieeeeeeee erate er Bees oe tf P = German compos Ludwig van Bethovan (1770-1827 conser tobe one fhe wo grees composes FS espe becoming completly deat in 1802, Athough he could not heat his music the vay we car he coulda = in his mind. As a testament to his greatness, his Symphony No. 9 (p. 13) was performed as the finale to the ceremony SF Cuetatng te reurifiation of Germany in 190, This the theme tom his Symphony No.7, second movement 177. THEME FROM SYMPHONY NO. 7 - Duet Ludwig van Beethoven Allegro (moderately fast)Russian composer Peter illyich Tchaikovsky (1840-1893) wrote si symphonies and hundreds of other works including = The touche bale Hesse maser hing bilan setings offoRmustesna Neergwal eases se snow te BE most popular of all time. His 1812 Overture and Capriccio Italien were both written in 1880, the year after Thomas Edison = Meee te paelacoe icon S 178. CAPRICCIO ITALIEN Always check the key signature. Peter iilyich Tchaikovsky negro 4 5 BESEE Eee Ja 4 atl 7 179. AMERICAN PATROL Allegra 4 : ee 180. WAYFARING STRANGER ‘Andante Fe pee l 181. ESSENTIAL ELEMENTS QUIZ ~ SCALE COUNTING CONQUEST rAd &PERFORMANCE SPOTLIGHT 182. AMERICA THE BEAUTIFUL - Band Arrangement Samuel A. Ward Arr. by John Higgins Latin American Folk Song ‘Arr.by John HigginsPERFORMANCE SPOTLIGHT 184, THEME FROM 1812 OVERTURE ~ Band Arrangement Allegro Peter lyich Tchaikovsky x > > ‘Ari.by John Higgins == aed Sat38 PERFORMANCE SPOTLIGHT sear Performing for an audience i an exciting part of being involved in music. This sol is based on Serenade Solo with Piano ing jor 1.525, also known as "Eine Kleine Nachtmusix"‘A Little Night Musi’). Wolfgang Amadeus Accompaniment Mozart wrote ths piece in 1787, the same year the American Constitution was signed into law. You and 2 plano accompanist can perform this forthe band or at other school and community events 185, EINE KLEINE NACHTMUSIK = Solo (concert Es version) Alege o gett == ae ane Wolfgang Amadeus Mozart ‘An. by John HigginsDUETS Here isan opportunity to get together with a fiend and enjoy playing music. The other player does not have to play ‘the same instrument as you. Try to exactly match each others rhythm, pitch and tone quality. Evensually, it may begin ‘to sound like the two parts are being played by one person! Later, try switching parts 186. SWING LOW, SWEET CHARIOT - Duet Atican-American Spiritual Andante pl 187, LA BAMBA - Duet Mexican Falk Son Allegro ia >40 RUBANK’ SCALE AND ARPEGGIO STUDIES ALTO SAXOPHONE KEY OF G (CONCERT B1) inthis tey signature play all Fs. a41 RUBANK® SCALE AND ARPEGGIO STUDIES ALTO SAXOPHONE KEY OF D (CONCERT F) to thistey signature play al F¥’sandCes, 1 GA Sera2 &@ RHYTHM STUDIES gedit ity a 30 En 32 fen Jd. fd Jd 2 » :ZRHYTHM STUDIES sO om ao pEL dy SI dy thy be by dbp STIL bet fr DLL, Dy chy aby ed44 CREATING MUSIC | i = Composition ste at of writing orginal musi, A composer often begins by creating a melody } made up of nlvidual phrases, ke short musica sentences.” Some melodies have phrases that seem | { Composi to answer or respond to “question” phrases as in Beethoven's Ode To Jo. Play this melody and listen = tohow phrases > and 4 give slighty ferent answers tothe same question (phrases 12nd 3), =* | 1. ODE TO JOY Ludwig van Beethoven "Question 2answer 3.Question AAnswer i 2. @. AND A. Wiiteyour own “answer*pinasesin this melody : SS = oe feacissntnnten 3.Question (Set ees 4. YOU NAME Pick phrase 8B, or D from above, and write tos the Question" for phrases 1 and 3 below. Then waite 2 different “Answers* for phases 2 and 4 fy __1:Question 2 Answer : o C 2: Question SS Answer ‘THEORY ; «__.¢ ____ Improvisation isthe at of rely resting your own _- Improvisation melody youplay. Use these notes to ploy your own = melody ine Ato go with the accompaniment (Line B) ——— 5. INSTANT MELODY"You can maou rots tough the beckon hs pge Flin the starsasingrcted by your band detox 28 26 25 24 2 ESSENTIAL ; ELEMENTS 22 x STAR ACHIEVER ee a 8 20s NAME 19 9 18 10 7 ¥ un 16 a iseeceageceeia 1. Page 2-3,The Basies 15, Page 22,EE Quiz, No. 117 2. Page 5,£E Quiz.No.13 16. Page 23, Performance Spotight 3. Page 6 EE Quiz, No. 19 17. Page 24,E€ Quiz, No. 125 4. Page 7, £6 Quiz, No.26 18, Page 26 Essential Creativity, No.137 5. Page 8,£E Quiz,No.32 19, Page 28,No.149 6. Page 10,8 Quiz,No.45 20. Page 28, EE Quiz, No. 151 7. Page 12-13,Performance Spotlight 21. Page 29, Performance Spotlight 8. Page 14, EE Quiz, No.65 22, Page 31, E Quiz, No. 164 9. Page 15 Essential Creativly,No.72 23, Page 32, EE Quiz, No. 168 10. Page 17, EE Quiz,No.24 24, Page 33,No.174 11, Page 17, Essential Creativity,No.85 25. Page 35,€ Quiz, No. 181 12, Page 19, EE Qui, No.98 26. Page 36, Performance Spotlight 13, Page 20, Essential Creativity.No.104 _27._-Page 37, Performance Spotlight 14. Page 21,No.109 28, Page 38, Performance Spotlight MUSIC — AN ESSENTIAL ELEMENT OF LIFE46 FINGERING CHART E ALTO SAXOPHONE Instrument Care Reminders 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. + Drop the weight of a chamois or cotton swab into the bell. Pull the swab through the body several times. Return the instrument to Its case. + Your case is designed to hold only specific objects. If you try to force anything else into the case, it may damage your instrument. © = Open @ = Pressed down ‘The most common fingering appears fist when two fingerings ae shown, ie eons Corporation of Americ, and nd Orctene Ousion D> 0 FE GS oor eo47 & ALTO SAXOPHONE AE Bb 29001000, oo eccie: 20089 001000, 1000, i ae OF loon ‘D }@2100% BO0100% 1 7 (ig) al 3] | @001090, 8°22 ‘ geoioco, 3 » 201000, FINGERING CHART c Di ED te A 2 0 201000, 2 ‘©eee ee ne neannenewnaaenentnenennne enn {enn ODS | lb uP TSO | wOS/A| Pde) alN/) ®H/D| 0/18 $4049 Suysabuyy - 21025 4u22U09 «gq