PERCUSSION BOOK 17 | =, | Eegsvasion species Fein ar E LEM E NTS FOR BAND COMPREHENSIVE BAND METHOD | TIM LAUTZENHEISER | JOHN HIGGINS : | CHARLES MENGHINI | PAUL LAVENDER | TOM C. RHODES DON BIERSCHENK Percussion consultant and editor WILL RAPP Wah ans at cannons_ @ PRACTICE RECORDaoe : : PERCUSSION BOOK 1 COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINE PAUL LAVENDER TOM C. RHODES DON BIERSCHENIC Porcussion consultant and editor WILL RAPP Bands... Making music with a family of ifetong fiends. Whderstanding how commitment and dedication lead to success ‘Sharing the joy and rewards of working together. ndividuals who develop self-confidence. Ereativity—expressing yourself n a universal language, Band is. WU SICH Soike up the band, Tim Lautzenhetser Psrsssoninszumens wee invented by preitoriccutues, Hanevet ost paraon history is connected with military groups. Drums were used in the 700 A., Moorish invasion (of Aca, These instruments were ancestors of the snare drum and timpani. Both the Scots and Swiss developed the snare drum around 1300. ‘Around 1450, Turkish military bands featured triangles, cymbals and several sizes of drums. The instruments used in these “Sanizary Bands” communicated signals tofarge ‘numbers of fighting troop. 4.5. Bach, Mozart, Beethoven, Berlioz, Debussy, Sousa and Stravinsky are allimportant composers who have inchided percussion inthe writing, ‘Common percussion instruments are the snare drum, bass drum, cash cymbals, triangle ‘and timpani. Famous percussionists include Vic Firth, Peter Erskine, Bucldy ich and Al Payson. = = e Ei . $ 2 2 5 Ss = ‘Student Activation Code E1PC-0988-0197-5874 IsaN 978 0.634.00327-1 Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured Alights Reserved2. MATCHED GRIP THE BASICS Posture Stand near your instrument, and always keep your: * Spine straight and tall + Shoulders back and relaxed + Feet flat on the floor Matched Grip (A Natural Stick Position) | Every percussion instrument requiring sticks or mallets can be played with this basic grip. Both sticks or mallets are held exactly the same“matched” way. + Place the sticks in front of you with the tip of the sticks pointing forward. + Extend your right hand as if shaking hands with someone. + Pick up the right stick with your thumb and index finger about 1/3 from the end of the stick. + The curve of your index finger’s top knuckle and the thumb hold the stick in place, creating a pivot point. *+ Gently curve your other fingers around the stick. + Check to be sure the stick is cradled in the palm of your hand, + Turn your hand palm-down to a comfortable resting position, + Follow the same procedure for your left hand, Practice & Performance Position Put the practice pad on a flat surface slightly below your west. + Stand up straight with your arms relaxed at your side. Raise your forearms by bending your elbows + Form the outline ofa slice of ple with the sticks about 2 Inches above the practice pad. + Move your wrists to raise the sticks 6-8 inches from the practice pad, This s the“up" postion. + Begin with your right hand. Strike near the center using a quick relexctike ‘tist action Let the stick return to the up’ postion to prepare for the next strike + Follow with your eft hand, and strike about 1 inch away from your frst right hand strike, Return to the“up" postion. _Mihen resting, keep the sticks about 2 inches above the practice pad in the ‘outline of slice of pie. Sticking Werk-Outs R= Right hand stick L= Left hand stick Play the following stic © = Strike near the center of the practice pad R L R L R bt REST e e e e | | @ e @ jing work-out on your practice pad, keeping an even pulse when playing and resting: L @ (|Resrl2.~ TRADITIONAL GRIP THE BASICS Posture Stand neat your instrument, and always keep your: + Spine straight and tell + Shoulders back and relaxed + Feet flat on the floor Traditional Grip The traditional grip is another way to hald your snare drum sticks. Your teacher wil fell you which grip you should use. LEFT HAND ‘+ Turn your left hand palm-——-— ¥ =p 101. PHRASEOLOGY nts 2 ‘ ‘The number above the staff tells you how many fll a 2 Multiple Measure Rest yestures wo st count each mensre of st saquence E 1234 2234 Simile (sim.) —_ continueplaying in the same style. 102, SATIN LATIN. Practice Double Sticking inthis exercise, Allegro ee ot WLR COR LOR L A LER L REAL RL om _ Sam ce Coa eo ce op es fdadddddaad @ |d ded ood dale odd o odded s | ee pg ed DT nD | ST of Go on tonext page20-8 See er ee Oe oe Rapp pot ee —— rtf ot ea pT FEET ft | oes oe a eo es a er . 2 ———_— 7 COLL Lo a foe Tosa 223-4 German composer Johann Sebastian Bach (1685-1750) was part of a large family of famous musicians and became the most recognized composer ofthe Baroque era. Beginning a a choir member, Bach soon became ‘an organist teacher, and a prolific composer, writing more than 600 masterworks, Ths Minuet or dance in 3/4 time, was vten as a teaching piece for use with an early form of the piano. 103, MINUET Moderato as > > ov . 104, ESSENTIAL CREATIVITY this melody can be played n3/4 or 4/4, Pencil in ether time signature, draw the bar ines and play, Now erase the barlins and try the other te signature. Do the phrases sound diferent? ae SS ee r2A 105. NATURALLY Right Hand Lead ROBL RL ALR ‘Austrian composer Franz Peter Schubert (1797-1826) lived a shorter life than any other great compos ‘eated an incredible amount of musi: more than 600 artsongs [concert mulsc for voice and accom symphonies, chamber music, operas, choral works and piano pieces. HisMarch Militaire" was originally a piano duet. One Measure Repeat Aapeat the previous measure. 106. MARCH MILITAIRE procice Doubling’ in hisexerche tar is Settee Franz Schubert sp "ee z z BD. fr St com, hg a : St mf no FLA ALLL RL ALL AL rao cS ASS [pe oe % % % as Perrerrirerr es T d x x 4 RiLaL RuLR Lo meLAL womb Lo omuaca cS el Si 107. THE FLAT ZONE108, ON TOP OF OLD SMOKEY I ‘American Folk Song Alegro so, > | if ; : | | x | SS a ES | ar St t ; oe (a f Boogie-woogie isa style ofthe blues, and itwas rst recorded by planist CarencePin2 Top" Smith in 1928, ‘one year ater Charles Lindbergh’ solo fight across the Atlantic. A form of azz blues music features altered ‘notes and is usually written in 12-measure verses, Ike"Bottom Bass Boogie” 109, BOTTOM BASS BOOGIE Allegre " tot et S sub Cy (ite. vo | yx 4 a ae | (O_O LAL) oT) TT |22-8 dd Quarter Adotaddshalt | & Eighth Notes thevalieatthe od auaecnote, SS 110, RHYTHM RAP cee Te 2e 3a4 8 1426 344 @ TH2H FHS BR TAP ZE4D 111. THE DOT ALWAYS COUNTS SS = eS ee eee Bor er rar ee ee ae Suibvde each J int 4 equal strokes and connect the multiple bounces as smoothly as possible Closed Roll J Sretisntexn bes uth sbuaingune ; 112, ALL THROUGH THE NIGHT DC. al Fine 113, SEA CHANTY English Folk Song Moderato228 114, SCARBOROUGH FAIR English Folk Song Andante j=} = tS=2: = os Patel ee eel r f fra] if eH a b J " y 1) t =—— as Ee Jaa 2 === 7 , . dd , of ° 115, RHYTHM RAP pds dt Ts bd bts o 3a 4a Te 2a 32048 116, THE TURNAROUND 117, ESSENTIAL ELEMENTS QUIZ ~ AULD LANG SYNE Scottish Folk Song Boe2A PERFORMANCE SPOTLIGHT ‘You can perfor tis snare drum solo with a plano accompaniment, Play itfor the band, the Solo with Piano school o:yourtamly. The theme in the piano partis a wel-known melody from a set of orchestral Accompaniment —_ Wors called Hungarian Dances bythe German composer Johannes Brahms (1833-1897). Many of Brahms’ works include dance and folk styles he leaned from touring Europe asa young man. A Johannes Brahms 118. HUNGARIAN DANCE NO. 5 - Snare Drum Solo nec wince ‘Allegro a REAR C BL wae REAL AR ER St 4 Single Paradies Double Parades <3 MeosureHumber Sisk Ces sie Coke i so ok A ak OR Ln BER AL Re RAL RL RL ARAL "esicks together23-8 118, HUNGARIAN DANCE NO. 5 ~ Piano Accompaniment Johannes Brahms Allegro Arr. by Will Rapp Plano i Wh pet248 ‘Great musicians give encouragement to fellow performers. On ths page clarinetsts lear thelr instruments’ upper register inthe *srenadila Gola Jump (named after the renadila wood used to rnake clarinets). Bras players lear Ip slurs, a new wanm-up pattern and percussionists combine new sticking patterns. The success of your band depends on everyone’ eflort and encouragement. ‘The following exercises will help you develop important sil Snare Drom Pfennig am tat achtys pba jst aed ecnie 119, GRENADILLA GORILLA JUMP No. 1 RELA LOALARL LL ALLALL AL ALLA LLALARLL RELA LL RL 120, JUMPIN’ UP AND DOWN. ALARURLOER CLL LRA Ne Ch CRUE AL eal aot tate AeLERt RAL RO RLLAL ALRALALLA LIAL RLRRt AR 121, GRENADILLA GORILLA JUMP No. 2 Raat iad | RRL RRL GRRL am CR RoL ALAR 122. JUMPIN’ FOR JOY RB EBL RL AL ARL RL OARL ORR URL RL RoRRL AL ARE RL ARLE RL ABE AL ro AB a Ae at Rob AB w24-8 123, GRENADILLA GORILLA JUMP No. 3 Ro A oR R ROR RR ARR ALBERS AA mo re 124, JUMPIN’ JACKS ALR URL ALR ALL ALR ope AL AL, Aa Bo A ALas tin tn Lie (oh LR RR Le Lobel Rob Coan Interval Tedstance between to pitches is an interval. Starting with"1" onthe lower note,count each line and space between the notes. The number of the higher note is the distance ofthe interval, 2nd—1 3d —_ ath: 1 Sth: 1 6th: 17th: 1 Octave: oe red € o. 2o 4 z z ee oe? oO oO o oe o 125. ESSENTIAL ELEMENTS QUIZ 4 quizon intervals appears in the Keyboard section (page 24). zg25-8 126. GRENADILLA GORILLA JUMP No. 4 Practice Aternate sticking as marked. AiR AL ALRL ALR AL LL RRL RL RA ALARA RL ALG LBL A Lip ALR LRL Lk RL LaLa Laat AL RERoA LAL 127. THREE IS THE COUNT 128. GRENADILLA GORILLA JUMP No. 5 Suvi ech into 2 equal stokes and connect 53) Closed Roll J) Hetnchnattsancaty soca i - 129. TECHNIQUE TRAX130, CROSSING OVER Trio ‘Atrio sa composton vith three pars played together 131. KUM BAH YAH Ihispercussion part can accompany atrio of players o the ull band, 25:8 Secor Altican Folk Song pao eS Bass Sa ey on al a mf coe or — a cm Ce ESS Lb er re bd ddd pid dd aa | ai tot : a ot rae divs tot Fa t maee | pare fears | e+ “ tH f ee , Pee ae Se Sea ee ae at te nes ) Jey fee26-8 Repeat the section of music enclosed by the repeat signs. (Ft ard and encngs re use they are played as usual — but Repeat Signs 190 back only 0 the fist repeat sign, not tothe beginning) | | 132, MICHAEL ROW THE BOAT ASHORE flamaccents con ako appiytocighth notes, pracanmerican Spritual Andante Secs aa RUA RGR | | | | wt 1 133. AUSTRIAN WALTZ Moderato ‘Austrian Folk Song ie *s iw = = Ss = ae as + | oy f f eo oe or | 1 - i) 7 eh _ UL 134, BOTANY BAY Allegco Australian Folk Song a eaeConducting | g Sage = Commongime i \ 3 T= (same asf) Practice conducting = ag thisfourbeat pattem. ? 135. TECHNIQUE TRAX Practice at all dynamic levels. 136. FINLANDIA Jean Sibelius Andante 197, ESSENTIAL CREATIVITY Create our own variations bypenciing ino dot anda to changethertythm ofany measure fom Ld J lrold. ot &27K 138. EASY GORILLA JUMPS 139. TECHNIQUE TRAX 140. MORE TECHNIQUE TRAX 141. GERMAN FOLK SONG Moderato fees ea aERERESEI EES vv 142. THE SAINTS GO MARCHIN’ AGAIN ‘lero James Black and Katherine Purvis Sf