A comprehensive band methodzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

tnat develops
creativityzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
and musicianship

Dear Band Student:

Congratulations on deciding to become a member of the band!
There is a special kind of enjoyment that comes from
performing with a musical group that can be found nowhere
else. As a skilled band musician, you will be able to playa
wide variety of musical styles from symphony to jazz, from
contemporary pop to marching bando With regular daily
practice, there's no limit to the exciting musical
experiences waiting for you! We wish you the best of
success in achieving your musical goals.

Mark Williams

Art Direction: Ruth Lebenson

Book Design: T om Gerou
Music Engraving: Greg Plumblee
IIlustrations: Martin Ledyard
Photography (pages 3 & 4): Jordan Miller

Instrument photos (cover, pages 1 & 2) are courtesy 01 Yamaha Corporation 01 America. aZYXWVUTSRQPONMLKJIHGFEDCBA
Thsnks to th e s tu d e n ts and s ta ff o f L in d e r o C anyon M id d le S chool and 8and D ir e c t o r
M a tt M cK agan f o r t h e ir p a r t ic ip a t io n in th e p h o to g ra p h s on pages 3 and 4.

lesl
Copyright © MCMXCVII Alfred Publishing Co.• Inc.
AII rights reserved. Printed in USA.
 11 zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

OETTINO READY To PLAY

1. Hold the head joint in your left hand and

the middle joint in your right.
2. Put the head joint and middle joint together
with a back-and-forth twisting motion. The
center of the embouchure hole should be
HEAD J O I N T ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
lined up with the center of the main line of
keys.
3. Twist the foot joint onto the assembled
head and middle joints. Une up the foot
joint so that the long rod connected to the
back of the n key points to the center of
the keys on the middle joint.ZYXWVUTSRQPONMLKJIH

FLUTE CARE

1. When you are finished playing, take your flute apart

FOOT JO IN T
and dry the inside of each section using the
cleaning rod. Make sure the end of the cleaning rod
is covered with a soft cloth.
2. To keep your flute shiny, wipe the keys off with a soft
cloth.
3. Sto re only those items in your case that the case is
designed to hold. Forcing music or other objects into
your flute case can cause problems with the
instrument.
CHECK YOUR
PLAYINO POSITIONzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

1. Sit on the front half of your chair.

2. Keep your feet flat on the floor.
3. Sit up straight and tall.
4. The flute should be held at a
slight downward angle and pushed
slightly forward, with the elbows
away from the body.
5. The edge of your
right thumbnail is
placed under the flute
between the first and
second fingers.
6. Fingers remain
curved, even when
not pressing down .
the keys.
• ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

FORMINO THE EMBOUCHURE

Embouchure (ahrn-buh-sure) is a French

word used to describe the way you shape
your mouth while playing. Here is how to
form a good embouchure:
1. Stick your lower lip outVUTSRQPONMLKJIHGFEDCBA
s l i g h t l y as if

you are pouting.

2. Remove the head joint, and with the
open end pointing to the right, place
the lower edge of the embouchure hole
on the lower edge of your lower lip.
2. Without changing the placement on
your lip, roll the head joint away so
that you are blowing directly across the
embouchure hole.
3. Firm the corners of your mouth,
allowing the very center of your lips to
{ e e l as if you are saying "who".

4. If you look in a mirror, you will see

only half of the embouchure hole.

PRODUCINO YOUR FIRST TONE PRACTICE TIPS

1. Practice taking a full breath, filling the bottom 1. T ry to find a place with a good, firm chair where
of your lungs so that your stomach expands. you will not be interrupted. Use a music stand to
Then fill the top of your lungs without raising hold your music in the correct position for playing.
your shoulders. Always using a full breath while 2. Start by playing long tones. This builds your
playing helps to produce long, full tones. embouchure and improves your tone.
2. Using only the head joint, form an embouchure 3. Always include some already learned "review"
and start blowing a focused stream of air by pieces, so that you continue to improve and perfect
whispering "doo", feeling as if you are holding your performance.
back some of your breath. After you've made a 4. Spend a concentrated period of time on the most
tone, try placing your right hand over the open difficult parts of your music. Avoid the temptation to
end of the head joint to produce a lower pitch. play only the easy parts.
Next, produce several notes on one breath by 5. To make your practice even more enjoyable, try
whispering "doo-doo-doo", being sure that your playing along with theONMLKJIHGFEDCBA
A C C E N T O N A C H IE V E M E N T

tongue is behind your teeth. Produce as many accompaniment CDs or cassettes.

notes as possible on one breath, always feeling
you are holding back some breath. As you
practice, you will learn to focus the air more
efficiently to produce longer tones.
THE STAFFzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

5 lines and 4 spaces

used for writing music.

TREBLE CLEF DOUBLE BAR

Also called G clef. The second line

BAR LINE I The end of
of the staff is the note G. a section
Divides the staff MEASURE
of music.
TIME SIONATURE into measures.
The distance
Tells us how many beats are in a measure between two
and what kind of note gets one beat. bar lines.

THE MUSICAL ALPHABET

The musical alphabet uses only the

E
letters A through G. These are used e ~~----G~_~B D~
A
FIHGFEDCBA
to name the notes on the staff in
LINE-SPACE-LlNE-SPACE order ~ ZYXWVUTSRQPONMLKJIHGFEDCBA
~~--E---------::::3
(A, S, e, D, E, F, G, A, S, etc.). From bottom to top, The lines can be remembered
There are rules that help us the spaces spell FACE. by using the first letter of each
remember the names of the lines word in the sentence
and spaces of the staff. Every Good soy Does Fine.

LEDOER LINES

Used to extend the staff.

A e o E F G A B e o E F
B zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA G A B e
 11. zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
TIME SIONATURE
WHOLE NOTE WHOLE REST
4= 4 beats in each measure
SOLO
One person playing
I
4= quarter note receives 1 beat
3 n
I 3 - I
1&2&3&4& 1&2&3&4&
',~"ij_~~~~;!-.3<;f.;':~~~_',;l~

Receives 4 beats Indicates a whole

D F
in! time. measure of silence.
,...
FLAT
~ ~ ~
oeeleee(l oeeleee 4 Lowers theIHGFEDCBA eeeleo0 4
or
• 1 .21"'"
or pitch of a note
~ ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
one half step .
or
b
FIRST NOTES ANO RESTS
D

1
~l
o )~
I',~ - I
o
- I
o
- ~
Count: 1 &2&3&4& 1 &2&3&4&

Up

,3
OOINO

2
E~
[zn
- .r - eU
' -

,3
LINES ANO SPACES

3
o
- FIn - El«' - I
o
- ~

WATCH THOSE RESTS

F

4
~
3
o
- I o
- I
o
- - I
o
~

Up ANO DOWN

5
~
3 o
- ~ln
- I
O
- ~1('
- I
O
~

Two OF A KINO

6
~
í
O

I
o
- ~ln ~ln
- o O
aZYXWVUTSRQPONMLKJIHGFEDCBA
I I ~

ACCENT O N L lS T E N IN G

7 ,í
Listen carefully to the soloist, then match the pitch.

.
[,n

J;Q
~ln

BAND
I
o

SOLO
I
BAND
O

I
O

SOLO
I
O

BAND
~ll'

SOLO
r Zl

BAND
'
 zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

11
,', ,,' ,.;.o., ~",:.,. , •••. " , '

BREATH M ARK ,
OUARTER NOTE
A suggested place
Receives 1 beat to take a breath.

in t time.ZYXWVUTSRQPONMLKJIHGFEDCBA DUET

A composition with
1&2&3&4& ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
parts for two players.

0000 NEIOHBORS

o -

MIX 'EM U p
,
9

Also
FOUR IN A Row E~

10 ~ i,~~- ~~- fim~- ~

Count: 1 & 2 & 3 & 4 &

PASSINO NOTES

TAKE FIVE

THREE-NoTE SAMBA

o ONMLKJIHGFEDCBA

ACCENT ON THEORY Fill in the note names, then fill in the fingerings.

14
~ ~ ~ ~ ~ ~

0001000(] ooolooo(] ooolooo(] ooolooo(] 0001000(1 0001000(1 IHGFEDCB

01.7 01.7 01.7 01.7 01.7 01.7
 • IZYXWVUTSRQPONMLKJIHGFEDCBA
HALF NOTE HALF R E S T IHGFEDCBA

~~ zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1&2&3&4& 1&2&3&4&
.001000 41 .001.00 41 aZYXWVUTSRQPONMLKJIHGFEDCBA
00" or Receives 2 beats Receives 2 beats

I
in t time. in t time.ponmlkjihgfedcbaZYXWVUTS
MOVIN' ON DOWN
e
o
1"

11 11 11

b """
I I I I I

HOT CROSS BUNS

English Folk Song

Au CLAIRE DE LA LUNE
French Folk Song

18~i~-
JINGLE BELLS Traditional Carol

19;i~-
- '

~-~-~ ONMLKJIHGFEDCBA

A C C E N T O N L lS T E N IN G

1. Play "Mary Had a Little Lamb" by ear.

2. Write in the missing notes to complete the songo
 QUARTER REST

i * 45j Receives 1 beat REPEAT SION

zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGF
ZYXWVUTSRQPONMLKJIHGFEDCBA i
i and time.
inaZYXWVUTSRQPONMLKJIHGFEDCBA Play the music again
:11

1 zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
& 2 & from the beginning.
TIME SIONATURE
ROUND
2= 2 beats in each measure
Playing the sarne music
4: = quarter note receives 1 beat
beginning at different times.

HANOCLAPPER'S MARCH
I I
, , I I

a
"
tJ I I I

21 Count: 1IHGFEDCBA
& 2 & 1 & 2 & 1 & 2 &

b
2 ap
; I:,~~¡f' I ~
(-
I I I ~
(-
~ J ~
(-
I J J I ~
4 ;~~<~
t ~

BETTER THAN THE REST

Clap first, then play.

22~i m* ~* ~*r* m* ~
0000 KINO WENCESLAS Traditional Carol

23~¡~ 'I~ ~ * n
DONKEY ROUNO American Folk Song

24 ~~o;:::=:===

DREYOL. DREYOL Traditional Hanukkah Song

25 ~ i -:~
ACCENT ON FLUTE

26~*~~*~ .. ~
For more individual technique practice, see page 42. #1.
 11 zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
l
~ ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
KEY SIONATURE
t ?
"~VUTSRQPONMLKJIHGFEDCBA
~
s:

s.. ~ Indicates notes which are to be

~

TIE
s
1
~
~,~"':
or
_-~
.•.
~ flatted or sharped. AII B's and
••ZYXWVUTSRQPONMLKJIHGFEDCBA
01000 '
4
~ E's should be played as B~ and
n throughout.
~

Joins two notes of

the same pitch to ~ <:::
[§ I TEMPO MARKINOS
make one long note. 1 & 2 & 1 & 2 & Moderato Allegro
Medium tempo Fast tempo

REACHINC DOWN

27~3~*~-_" ~
THE SCORE Is TIED <Duet>
I I
, I
..
aaZYXWVUTSRQPONMLKJIHGFEDCBA
." "

1'- I
~ I I I

28 1 & 2 &
I
1 & 2 &
,
b "
I I I I I I I I
~

MARY ANN
Jamaican Folk Song

29

:~ ONM

ACCENT DN THEDRY: Dn me B rid g e a t A rig n o n

Name the notes, then play. French Folk Song

31 -p' 3
 11 HGFED

A C C E N T O N P E R F O R M A N C E zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

HOLlDAY SAMPLERzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

Arr. by John O'Reilly

and Mark Williams
Allegro
~e 4 6

[Q]
~~14 ~~16e 17 18~

~~

[E]
Fr_;F=j~20e~~ ~~-

~.--
~ aZYXWVUTSRQPONMLKJIHGFEDCBA
r 28 30

iE=:;-~~~
~~r=*IJ
 '- C J : t
A aZYXWVUTSRQPONML
zyxwvutsrqponmlkjihgfe
. .' .• '.

11 '"""-".,.,"'---_ ..
VUTSRQPONMLKJIHGFEDCBA
EIGHTH NOTES
,,,."'---,
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

VARIATlON
~
~
Receive 1;2beat in !and i time. Changing the rhythm
:~
~ ~ or notes of a theme

t) ~ lEMPO MARKING
A n d a n te
to create variety.ZYXWVUTSRQPONMLKJI

L__ ~~,_~~ 2 &

• r.
~_ .. Moderately slow tempo

EIOHTH-NoTE EXPRESS

Count:

RHVTHM RIDDLE
1 & 2 & 3 & 4 &
-
Clap first, then play.

3 3 V i~

BILE THEM CABBAOE DOWN

34

SURPRISE SVMPHONV --'''--'",=':._-

THEME I • Franz Joseph Haydn

35 ~' -':;

~.'_~i
~~§'~~ HGFEDCBA

ACCENT O N C R E A T I V I T Y : ONMLKJIHGFEDCBA
V a ria tio R O R L ig h tly R o w

Create your own variation by changing some of the quarter notes into pairs of eighth notes. German Folk Song

36~!i@H ~ ~~i
,
~
r ~
r r ij r r r f o
 G
INTERNAL

11:
REPEATzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1ST ANO 2ND ENDINOS

:11zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFE
•
Repeat only the music
~ between the signs.
eeelooo41ZYXWVUTSRQPONMLKJIHGFEDCBA
IHGFEDCBA --------_ ... -
or
2nd time:skip the first ending and
play the second.
CLlMBINO HIOHER
G

37 - ~

MORE EIOHTH NOTES

LONDON BRIDOE rouen

a
" I
Moderato
• - .- English Folk Song

I I
~ I
39
I
b
" I I I

~ I I I I I I I I I I I I

STODOLA PUMPA Czech Folk Song

Allegro

40

SKIP TO Mv Lou
Moderato American Folk Song

41 *
_1

~:::¡~± 112. 1

~*r*~*"
FIRST CHORALE
Andante

42~~O~O ~ ONMLK

ACCENT ON FLUTE

43 - ~

For more individual technique practice, see page 42. #2.

~ /.; : ., . zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

11 ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
DIVISI
d iv .
SLURzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Some players play the
DOTTED HALF NOTE
top notes while others
play the bottom notes. ~
~
"Too" _ J
1&2&3&
= J~j
1&2&3&
Connects notes of
different pitch. A dot following a note increases TIME SIONATURE
Tongue only the its length by 1;2 its original value. 3= 3 beats in each measure
first note.
In i and !time. a dotted half
4= quarter note receives 1 bea

note receives 3 beats.

SLURS ANO DOTS

44 - ~ aZ

THREE-FoUR DUET

a
1\ I
- r--.... n· ~
-
I I I
~ I
45

b
1\ I
- I
- I I

I I I
~ I I I I

SOUTHERN ROSES Johann Strauss, Jr.

• m=ij~5-189911
m=w'
Moderato

46
'
~ .
§t ij'

~'
~'
8'1' ij' ~~"3t ,, ~

MEXICAN JUMPING BEANS

(Variation on CHIAPANECASl

Allegro Mexican Folk Song

47~~, ª~,~* ~
~ * EWª,ª*ª:iij * I*f~'~~
A ONMLKJIHGFEDCBA
CCENT DN THEDRY

Draw the correct bar lines. then play.

48~*~*1~*~
 11' -
NATURAL

,
I~"'~'

~
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Cancels a flat or sharp

~
until the next bar line.
KEY SIGNATUREzyxwvutsrqponmlkjihgfedcbaZYXWVU

Al! B's should be played

as B~ throughout.
~

I
.~
~
eeeleeoZYXWVUTSRQPONMLKJIHGFEDCBA
or
41 aZYXWVUTSRQPONMLKJIHGFEDCBA
f p IHGFEDCBA
DYNAMIC MARKINGS

fo r te -Io u d p ia n o -s o ft

Two WAYS TO PLAY IT

AURA LEE rouen

American Folk Song
Andante _.-.......
11
•• n
'"
VUTSRQPONMLKJIHGFEDCBA • n
'"
a
I I I
~
50
11 I I I I I I

b
. .
~ I I I I I I I I I I

FRERE JACQUES (ROund)

Moderato CD French Folk Song

5 1 V i~ ~ ~ ~
: ' f p

f p .
f I
p

MORNING from 11 PEER GYNT"

Edvard Grieg

52HGFEDCBA

A ONMLKJIHGFEDCBA
C C E N T O N C R E A T IV IT Y : C a m p to w n R a c e s
Stephen Foster
Add your own dynamic markings, then perform.
(1826-1864)

53

b
 • RITARDANDO
FERMATA
PICK-UP NOTES
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1":'\
Hold the note longer.ZYXWVUTSRQPONMLKJIHGFEDCBA
r it o

Gradually slow down the tempo.

I~
! (1 2 3) 4
! Notes that precede the
I first full measure.

PATTERNS WITH PICK-UPSzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

54 ~ I aZYXWVUTSRQPONMLKJIHGFEDCBA
f p f 1 2 3
(1 2 3) 4

CARNIVAL OF VENICE Italian Folk Song

55

f
(1 2) 3 1 2

JOLLY OLD STo NICHOLAS

AII Traditional CarolVUTS

5 6 ~ i~ ~ ~

~~~

THE SNAKE CHARMER

Traditional
Andante

57

BILL OROCAN'S OOAT

Allegro American Folk Song

58~~" ~"~" ~~n

(1)1; 3 4 ONMLKJIHGFEDCBA

ACCENT ON FLUTE
112. I
59V1 :lF - ~

f
For more individual technique practice. see page 42. #3 & 4.
A HGFEDCBA
CCENT ON P E R F O R M A N C E ZYXWVUTSRQPONMLKJIHGFEDCBA

EAGLE SUMMIT M A R C H aZYXWVUTSRQPONMLKJIHGFEDCBA

Johnzyxwvutsrqponmlkjih
O'Reilly andponm
Allegro Mark Wil/iams

Él' I.....-==~ 8

~~~ ONMLKJIHGFEDCBA

~ IHGFEDCBA
:
~ l1 Y L -;
-~---__

~----------------------
I 1.

--==~~..------:.:~
===- VUTSRQPONMLKJIHGFEDCBA
d iv

--ª=--==--=->----
__ 36

~
46

I
-
~
*
112.

~-~-~
<-
'-~

~6?68~==
======---------_
~
_ =-===~.~*~ :o 72
 ·...---"l
,:.--.:

zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQ

•
KEY SIONATURE

AII S's, E's and A's

should be played as S~,
•• ~I0004 IHGFEDCBA
orzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
E~ and A~ throughout.

ANOTHER NEW NOTE

wil · ~
WHEN LOVE 15 KIND

61 aZYXWVUTSRQPONMLKJIHGFEDCBA

f P f
•.S N 1 •• Johannes Brahms
T HEME FROM YMPHONY O. (1833-1897)

62
f
*~
ALOHA 'OE .. Oueen Lili'uokalani (Hawaii)
.~ ¡oy 11.• VUTSRQPONMLKJIHGFEDCBA
,a .r
(1838-1917)

63~
*f~
~D~

~
~
ffi'*?
~ nJ7ll ~ ~~
f,

MINKA, MINKA
Ukrainian Folk Song
Moderato

64 f

b
f ONMLKJIHGFEDCBA

ACCENT ON THEORY

KEY RINGS: Circle all notes changed by the key signature.

65
 >-zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPON
ACCENTzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIH

Play the note stronger.

ORCHESTRATION

Choosing which instruments

playa section of music.

THE KEY MAKES THE DIFFERENCE

66 . ~ aZ

f ,
. .. . ;
p
.' .

JASMINE FLOWER

BLUES AOVENTURE rouen

"
1
A 11~~ro
,¡i.Ii > ~ .... •..
~ > » .••• ~.~ > »> - ... ~~
a
"' ..1.
~ ~
68
b
fI 1 11 -
..,
-_
IHGFEDCBA
> VUTSRQPONMLKJIHGFEDCBA
> .:
•.......•..
I I

~ 1 -1 1 1 1 1 >1

...
f

a
fI 1 > »- > • ,~ .- ..;.
- .:... > » > •• , ,. .
~ 1 1 - r ito

fI 1 I
¡IIII"\
> > > -~
b
» I I 1
~ n t . ONMLKJIHGFEDCBA

A C C E N T O N C R E A T IV IT Y : T b ls D ld M a n

Ch h f h I d American Folk Song

69

f P f .. p f
 • SINGLE EIGHTH

Each receives
~. ~and
NOTE ANO EIGHTH

1;2 beat in
!time.
~
~
RESTzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

1 & 2 &ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

EASY EIOHTHS
11. 112. 1

70~~:~
f
paZYXWVUTSRQPONMLKJIHGFEDCBA f

POLLY WOLLY DOODLE

Allegro American Folk Song

71 Vi p ONMLKJIHGFEDCBA f
.~ P
HGFE

V+a'D~)~_~D~_ f .;
11

MARCH FROM ••RONDO ALLA TURCA Jf

Wolfgang A. Mozart
Moderato> (1756-1791)

72

LA BAMBA .
Mexican Folk SongIHGFEDC

73
f

> > >

~ j~ m
ACCENT ON FLUTE

74~~'~
P
For more individual technique practice, see page 42. #5.
.,wtHt#!M;Ü@@iliuv--~.. ~ ~~,..:.e,.:.:..'~c",.~;'
•.. ,-,.,. ,- """'-\'-'.,. -,.-','. ,,' ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

TEMPOZYXWVUTSRQPONMLKJIHG
M A R K IN O

V i v a c e zyxwvutsrqponmlkjihgfedcba

Very fast tempo

QpPOSITE DIRECTIONS A:
..B~r-\
75~'i~*~n~ aZYXWVUTSRQPONMLKJIHGFEDCBA

ACCIDENTAL ENCOUNTER

76~¡~_
P f
CHESTER
William Billings
Andante ~ (1746-1800)

77~e~gf.*J
f p

~n~.
f ~

BELLA BIMBA Italian Folk Song

Moderato 11. 112. 1

78VUTSRQPONMLKJIHGFEDCBA

CHOPSTICKS rouen T raditional

11. 112. >

f l.
1\ I
•• 1.

I I I I I > > >1 > >

a
.
~ > > > I I I » I
79 f
1\ I > > > > > »> > > >
b HGFEDCBA
~ I I I I I
I I I I I
f

ACCENT ON THEORY Fill in the note names, then fill in the fingerings .

80

•ooOlIOOOCl
00"
~

ooOlIOOOCl
00"
~

OOOlIOOOCl
00"
• ooOlIOOOCl
00"
~

ooOlloooCl
00"
.~

ooOlIOOOClIHGFE
00"
 • HGFEDCBA
D V N A M IC M A R K IN O S
M U L T IP L E M EASURE REST

2 ZYXWVUTSRQPONMLKJIHGFEDCBA
mezzo forte-medium
1 1 f f ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
loud ,
Count: 12 3 4 ; 2 2 3 4
m p mezzo piano-medium softzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
I

81

EXTENDED RESTS toueti

2 3 ;2 2 3 f
aZYXWVUTSRQPONMLKJ
8 2 VUTSRQPONMLKJIHGFEDCBA

23 ;223 m j' p f

KOOKABURRA (Round)
Moderato CD Australian Folk Song

83Vi
mp

FINALE FROM "ORPHEUS" (Can-Can) Jacques Offenbach

> (1819-1880)
Vivace »

84'V'ir m j' f

m j' f ONMLKJIHGFEDCBA

ACCENr O N C R E A rIV IT Y : R h y th m ic Im p lo v is a tio n

Improvise your own rhythms in each measure using only the pitches shown.

e e
'f i
e e e
85
I fe I " I
1I

I ~
A CCENT ON PERFORM ANCE

GALACTIC EPISODEzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

John O'Reilly and

Mark WilliamsHGFEDCB
AndanteVUTSRQPONMLKJIHGFEDCBA

mp

Allegro

~~- m f zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

> > d iv .

ih-j
 • j
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
STACCATO Play the notezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1¡2 its
normal length.VUTSRQPONMLKJIHGFEDCBA
JI

lONE BUILDER

1)

86

~ ZYXWVUTSRQPONMLKJIHGFEDCBA

A SHORT STORY
. . .
87

m j'

WILLlAM TELL OVERTURE Gioacchino Rossini

88 =p, ti
~~ aZYXWVUTSRQPONMLKJ

f
HATIKVAH
Andante . Israeli National Anthem

M~~ I HG
m f

MINUET Johann Sebastian Bach

Moderato ~ (1685-1750)

90~1~1~
mp

:~.~ ONMLKJIHGFEDCBA

ACCENT ON FLUTE

91~.$~~'*~'$~
m f'
For more individual technique practice. see page 43. #6 & 7.
 DOTTED OUARTER N O T E zyxwvutsrqponmlkjihgfedcba

1&2& 1&2&

In ~ ' and ! i time, a dotted

quarter note receiveszyxwvutsrqponmlkjihgfedcbaZYXWVUT
11;2 beats.

DOTTED OUARTERSZYXWVUTSRQPONMLKJIHGFEDCBA
.. ,,:',") ~

92~~~~ VUTSRQPONMLKJIHGFEDCBA
m
Count: 1 & 2 & 3 & 4 & aZYXWVUTSRQPONMLKJIHGFEDCBA

Giuseppe Verdi
ANVIL CHORUS from "IL TROVATORE" rouen (1813-1901)

1\ I
Moderato
n ,.. ,. ,..
- ..- n
112.
,. .
d iv .
>
n
1

a
tJ r I
f
93 1\ I . . . . . . . . .; . . . . . . . >
b
tJ I I I
. I I I
. I I
f

ALOUETTE
Vivace French-Canadian Folk Song

SAKURA
Japanese Folk Song

95~ ~
mp ~

~
mp r ito

WEARING OF THE OREEN

Allegro ~ Irish Folk SongIHGFEDC

96HGFEDCBA

ACCENT ON THEORY

TAKE A REST: Complete each measure by adding the correct rest, then write in the counting and clap.
 0.5. (OALzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SEO NO) AL FINE

Go back to the sign ~ and

play until Fine.

lrs RAINING, IT'S POURINO '1

ModeratoVUTSRQPONMLKJIHGFEDCBA
, T raditionalZYXWV

99

m i ' HGFEDCBA m p

ARIRANO
Andante Korean Folk SongaZYXW

100

m i' p

QOE TO Jov from "SVMPHONV No. g" Ludwig van Beethoven

101

f ONMLKJIHGFEDCBA

ACCENr D N C R E A rIV lry : F r e e I m p r o " i s a t i o n zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

102 te0 n
o Using the five pitches shown, improvise your own melody
using any rhythms you know. You may play these notes
in any order, repeat notes or use rests.
 TEMPO
Largo
Very slow
MARKINO

D.C. (DA
•
CAPO) AL FINEzyxwvutsrqponmlkjihgfedcbaZYXWVU
Go back to the beginning and
play until Fine.

EASY Do ES ITzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
112.

103~ aZYXWVUTSRQPONMLKJIHGFEDCBA :~~. ~ VUTSR

mp mp
f

THEME FROM "NEW WORLO SYMPHONY" Antonin Dvolák

(1841-1904)

SONO OF THE VOLOA BOATMEN

Andante . Russian Folk Song

1 0 5 _ ~ ~ i~mp

LIZA JANE
Vivace American Folk Song

106 ~~~
if~· *~-I

~.*~-~
HANSEL ANO ORETEL CHORALE Engelbert Humperdinck

107
¡tii mp ntONMLKJIHGFEDC

ACCENT ON FLUTE
. > .

108

f mp
For more individual technique practico. see page 43. #8.
 • ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SY.~COPATION

Starting a note
that is one beat
or longer on "&." 1 & 2 & 1 & 2 &

RHYTHM ANTICS

109 _ ¿~;'.;~i:,;.~:K';'ij~~.
~'"~t;.~~"p~.
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
...." ':",
-
,:1"
~,.; .•.,
,.
_ ,_ _ _
.
.
. .
. VUTSRQPONMLKJIHGFEDCBA
m j"
Count: 1 & 2 & 1IHGFEDCBA
& 2 & ,.

LONO TIME Aoo American Folk Song

Allegro 11. 112. 1

110~i~e 1IaZ
f mp

HAlL, THE CONQUERINO HERO <ouet)

George F. Handel
Moderato (1685-1759)
11 I ",----..", 7:::. P.
. . -,..
a

111
~

11 I
m j'
I
- 1

f
2
_1
t'" I

b
1 1

-
tJ I r I I 1 1 •••••

mf f

FOLK FESTIVAL

112
~

WE WISH
mp

You A MERRY CHRISTMAS

f

(Duet)
- p f

a
, I
Vivace
r:. " '" ' r..::"". . ,
..~.- ---
T raditional Carol

.
tJ 1 1 1 1o.‫ ס‬I
m} I I 1 1

113
11 I 1 I I 1

b
tJ I I I 1
~ I
m j ' ONMLKJIHGFEDCBA

ACCENT ON THEORY

114 Arrange the following tempo markings

in order from slowest to fastest:
Moderato, Allegro. Andante.
Vivace, largo slowest - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -.. fastest
A ONMLKJIHGFEDCBA
C C E N T O N P E R F O R M A N C E zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQP

WHEN THE SAINTSZYXWVUTSRQPONMLKJIHGFEDCBA /

0 0 MARCHINC INHGFEDCBA
Arr.zyxwvutsrqponmlkjihgfedcba
by John O'Reilly
and Mark Williams

14 ~

~
~~- ~~(I
'6~·""=1 _.! aZYXW

~i·
_ i* -

@]
~45 _: . "_"" >
-----'0 > > ,,>
~(í~- .. _ -'.~~O
 ezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
CRESCENDO DIMINUENDO

~
.00100°cJ
00"
--==========
get louder gradually
========--
get softer graduallyponmlkjihgfedcbaZYXWVUT

CROSSINC THE BREAK

e

115~'~'_'~ aZYXWVUTSRQPONMLKJIHGFEDCBA

f - -

116

TRUMPET VOLUNTARY rouen Jeremiah Clarke

Moderato (1674-1707)

" I I I I I
- .
1 ': \

117
mf
i'"
~ VUTSRQPONMLKJIHGFEDCBA
_. -
_f .
i'"
....,
r ito
.

1 ': \

"
I I I I

b
I I I I I I
~ mf r it. dlV.
f

FINLANDIA Jean Sibelius

Andante (1865-1957)

<>IHGFEDCBA
118

~~~-=~~~==-
"7WD
m p -=::::::::: m f = mp ====- p HGFEDCBA
ACCENT O N C R E A T IV IT Y Create your own composition containing a balance of unity and variety.

119~~~~~~~

1. Copy the first two measures into measures 5 and 6 to create unity.
2. Compose new music for the remaining measures to add variety. 3. Play your composition.
 .. " .• po

TIME e
SIGNATUREZYXWVUTSRQPONMLKJIHGFEDCBA

Common Time-same as i

SHEPHERD'S HEY rouen

English Folk Song
AllegroVUTSRQPONMLKJIHGFEDCBA
r= :

120

BOTANY BAY
Australian Folk Song
ModeratozyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

121 ~~ -== -m p ~

~*~· fiF*~ HGFEDCBA

m p

REUBEN ANO RACHEL (ROund)

Vivace r:i'\ I T raditional

122 aZYXWVUTSRQPONMLKJIHGFEDCBA

AMAZINO ORACE

123ONMLKJIHGFEDCBA

ACCENT ON FLUTE

~ 11 112. 1

124_----':~

For more individual technique practice, see page 43, #9.

 • MORE SVNCOPATION

& 2 &
1IHGFEDCBA 1 & 2 &ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

.sVNCOPATEO RHVTHMS

RUSSIAN SAILORJS DANCE

Reinhold Glierezyxw
Moderato (1875-1956)

126~~~~~

~~~@

VE BANKS ANO BRAES OF BONNIE DOON rouen Scottish Folk Song

Andante 11. 112.aZYXWV

I ZYXWVUTSRQPONMLKJIHGFEDCBA ••• •• #?# ••• •• # ..• :\VUTSRQPONMLKJIHGFEDCBA
. r»
.
1 ': \

a .
~
P
I
-=::::::::= m p
I

====- P
I
p
127
I I -.... "--....,, I I I
'"
r ito
1:)

-
b
I I
--
~ I I I
I I
p
.~
-=:::::::::= m p .=====- p
!:t.
TOM DOOLEV
American Folk Song

~~~.fi~~
128ONMLKJIHGFEDCBA

~'

ACCENT ON THEORY Arrange the following dynamics in order from softest to loudest and back: m ¡ f. p .

f·m p ·

129
 •0001000 41 IHGFEDCBA
KEY SIONATURE

AII B's, E's, A's and D's should be

ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
0(7' zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDC
played as 8~, E], A~ and m throughout.

ON Top OF OLO SMOKY

American Folk Song

131~· ~.~~--
'7·~70~r ZYXWVUTSRQPONMLKJIHGFEDCBA * ~

~.ij.~.&.~
Peter 1. Tchaikovsky
MARCH SLAV (1840-1893)
Largo rr---'1r2I
132
~e~":~ VUTSRQPONMLKJIHGFEDCBA
mp f
-=:::::::::::aZYXWVUTSRQPONMLKJIHGFEDCB
:::=:::::::==-

LAS MAÑANITAS
Mexican Folk Song

133

p f ~

p f

POMP ANO CIRCUMSTANCE

Edward Elgar
Andante (1857-1934)

134VIl r
f
1,. 11 2.

~~~~r~@ ~:lf
!Ff ~~o
=
For more individual technique practice, see paqe 43, #10.
 '~ ! ~ ~ ; U ( ·.· ." ... : .• .• ......, .• • . , .....• ....... ~ • ..• .• " .• .... ponmlkjihgfedcbaZYXWVUTSRQ

FLUTE SOLO

HUNTERS' CHORUS
from "DER FREISCHÜTZ"zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

Carl Maria von Weber

rnzyxwvutsrqponmlkjihg
HGFEDCB
(1786-1826)
Allegro

" IaZYXWVUTSRQPONMLKJIHGFEDCBA
. r-. .~

Flute

~ I
m f

, I
E~
- BP E~

t.! -t! -:» I . I . I

j j
Piano

..
m i' .;. .;. .;. .,
f
I I I . . . ... .

I
P. ~ ~ :-~. . . r .~ P. ~ ~ b~ t
"
~ I

BP E~ B~ F7
I

(
t.!
s im ile j j :.- :.- J j J J J J • ~j
IHGFEDCBA
<

f ··
... I I
•

, P. . . . p
>
> . > . .
I -n ~ ~ > ~~ n
• •
~

, I
B~ E~ Cm Fm B~ E~

I
~ ~ J j J
~ ~ ~ .. .. .. ti- 1I 1I

··
• ... I
• • ...
 >
11. z

f7 ~ ~ > VUTSRQPONMLKJIHGFEDCBA
s:
IaZYXWVUTSRQPONMLKJIHGFEDCBA
o
-
> . . ;;;- ~ ~ I'- - - ~ ~ ponmlkjihgfedcbaZYXWV
~ ."""

, I
A ~ /C E~/B~
IHGFEDCBA B ~ /D E~ A~ E~ B~

I
t.!
•• 11 •• ., 11 11 111 111 •• "i .,¡ •

I ·
I I

f\ I
. . . . . >
. ~ >
. ~ ONMLKJIHGFEDCB
1 '- # ' 1 '- # '

.J ;. •••• I •••• I •••• I I I

I
••••
E~ E~ BP
I

Jt.!
~
.,¡ .,¡.,¡.,¡ .,¡.,¡ .,¡ .,¡.,¡.,¡ .,¡.,¡
j j j j
,., ,.,
J f
·
•• I

!'-.;.. !'-~ .:.. > . . !'-~.:.« « . « « . !'-~.

>
f\ I
. • >
. • r .P -
~ HGFEDCBA

.J I I

E~ BP E~ BP
I

,t.! ,., ,., j 1 j j

,., ,., ,., ,., 1 ~
I

·
I I I
I I I I

> 11. 112.

f\ I ~ r . P- ~ . ~ > ~ . . >

.J
11. 112. 1
E~ BP E~ BP E~
I

I
t.!
j ~ j j j j ~ 1 111 1 ~:
> >
··
I

I
I I
••
 11 zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

ACCENT ON PERFORM ANCE

John Philip Sousaponmlkj

SOUSA SPECTACULAR (1854-1932)
Arr. by John O'Reilly
and Mark Williams

~y:-
AllegroZYXWVUTSRQPONMLKJIHGFEDCBA '[I J HGFEDCBA
Pwy 2nd tim e o n ly

_ 678

aZYXWVUTSRQPONMLKJIHGFEDCBA
f

11. 112. ~

f VUTSRQPONMLKJIHGFEDCBA
mf

~
= m p IHGFEDCBA

69 >

- ~ '§
====-mf f
ACCENT O N S C A L E S zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

B~ ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
MAJOR SCALE ANO CHOROSzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
tconcert B~)

V'i r it.
; ~
ZYXWVUTSRQPONM
a

F MAJOR SCALE ANO CHOROS (concert F)

Eb MAJOR SCALE ANO CHOROS rconcert E~)

~d~8 ~
Ab MAJOR SCALE ANO CHOROS tconcert A~)
. t':\
d

;:Wi~1t r it.
~
Bb MAJOR SCALE IN THIROS tconcert B~)

Optional
articulations: J J J J. J J J J. J J J J. J J J JVUTSRQPONMLKJIHGFEDCBA
< ;» " '- ' < ;» < ;» " " '- " "

F MAJOR SCALE IN THIROS tconcert F)

Eb MAJOR SCALE IN THIROS tconcert E~)

1\ I
• ,. • ,,- ,.t.. "..et.. ~ f- ~"..e ~,."-,,- ~,."-.
j- f- F- f-
~ • "-
@.!

Ab MAJOR SCALE IN THIROS tconcert A~)

CHROMATIC SCALE

~i~~': ~t~: ~
 11 HGFEDCBA

A ONMLKJIHGFEDCBA
" E N T O N R H Y T H M S zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

10
 '-:"11'"" -',
.ponmlk

11

12zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

13

14

15

16

17

18

19ZYXWVUTSRQPONMLKJIHGFEDCBA

20
ACCENT O N R E S T S aZYXWVUTSRQPONMLKJIHGFEDCBA

lV ! r * - wr - ~
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA * 1 - ~ * - 1 zyxwv

~ - ij*r*g**~- ~*~
~'. '

2~**1- ~-
tr*~ - l*m*~~1"
.',VUTSRQPONMLKJIHGFEDCBA
.:

3¡E'!- *~ 1- r gg- 1 -~

V * §C * ~ * -. ... '
1 - §" * W - r *~

4~ - ~*I*~*I - I
~ -I*~*~*~

5_ * - 1- ~ - 1- * §ij * - ~
~ - 1- ~ .. *- 1- *~
_~ __ ' - ~ ~ ~ ~ ~ I '/ ~ : . r '; : ~ . '¡ 'b " " ''''''o . ! . o j, , , . " > L - . ; . . • • •L• J '. # •.•.• -:,:,~ VUTSRQPONMLKJIHGFEDCBA
• • . .? zyxwvutsrqponmlkjihgfedcbaZYXW
• • • • ~ " ,. •••
~ -- • • .• • .• .• . _ . "

~;

" \'
-zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONM

.
.

ZYXWVUTSRQPONMLKJIHGFEDCBA
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
.
11
6~1 2 1~::¡::g3 11

_* *~,: '.
.
, .
,.
..~'.
i
11 2 I~' ~

8_:
V 1 ~

9~ - 1:: ~H: ~Y~ - 1

"

'" 2
fi:wpY:~1 II:*~

10~1l §M - 1- ~ - 1 - ~: 1 - 1

p,- 5=«:- 11 3 11- *~- ~,*~

11 ONMLKJIHGFEDCBA

ACCENT ON FLUTE

1 ~ i~" '~ .. 'I~" '~!l' '1

zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDC

~ .. ~

2 __ ~

~~~

3~~ .... ~~~

,',

~-~ ... ~

4~ .. ~
" .

~.~.~ VUTSRQPONMLKJIHGFEDCBA

5 ~ .,~ M = t~

~~~
 11 IHGF

6V1
:n ~

9 zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

lo~~1

~~
A
11 ONMLKJIHGFEDCBA
C C E N T O N C H O R A L E S ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

CONCERT Bb zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Andante 1':'\

V'i *~ aZYXWVUTSRQPONMLKJIHGFEDCBA

'" '" ~ ,. d i~ 1':'\

"'" . ~B~ VUTSRQP

?~m p 0 r it.. ~

CONCERTZYXWVUTSRQPONMLKJIHGFEDCBA
F
Largo . :

o I
mp = mf ====-

CONCERT Eb
Andante

mp -=:::::::::::: mf p

-= -= m p
.
=. n t.
~:p
~

CONCERT Ab
Andante 1':'\

~ - ~
P
1':'\

~- l.
G L O S S A R Y ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
•
LEDGER LINES Used to extend the staft
ACCENTzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
(e- )zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Play the note stronger
ALLEGRO Fast tempo LILI'UOKALANI Hawaiian composer (1838-1917)

ANDANTE Moderately slow tempo MEASURE The distance between two bar lines
BACH, JOHANN SEBASTIAN German composer MEZZO FORTE ( m f ) Medium loud
( 1685-1750) MEZZO PIANO ( m p ) Medium soft
BAR LINE Divides the staff into measures MODERATO Medium tempo
BASS CLEF en Also called F clef. The fourth line of MOZART, WOLFGANG A. Austrian composer
the staff is the note F (1756-1791)
BEETHOVEN, LUDWIG VAN German composer MULTIPLE MEASURE REST Indicates more than one
( 1770-1827) measure of rest
BILLlNGS, WILLlAM American composer (1746-1800) NATuRAL (q) Cancels a flat or sharp until the next
BRAHMS, JOHANNES German composer (1833-1897) bar line
BREATH MARK (,) A suggested place to take a breath OFFENBACH, JACOUES French composer (1819-1880)

CLARKE, JEREMIAH English composer (1674-1707) ORCHESTRATION Choosing which instruments playa

COMMON TIME (C) Same as t time signature section of music

CRESCENDO ( -===) Get louder gradually PIANO ( p ) Soft

D.C. (DA CAPO) AL FINE Go back to the beginniny PICK-UP NOTE(s) Note(s) preceding the first
and play until Fine full measure

DIMINUENDO ( ===-) Get softer gradually REPEAT SIGN Play the music again from the beginning

DIVISI Some players play the top notes while others RITARDANDO (RITJ Gradually slow down the tempo
play the bottom notes ROSSINI, GIOACCHINO Italian composer (1792-1868)

DOUBLE BAR ( 11) The end of a section of music ROUND Playing the same music beginning at
D.S. (DAL SEGNO) AL FINE Go back to the sign ~ difterent times
and play until Fine SHARP (#) Raises the pitch of a note one half step
DUET A composition with ~arts for two players SIBELlUS, JEAN Finnish composer (1865-1957)
DvoRÁK, ANTONIN Czech composer (1841-1904) SLUR Connects notes of difterent pitch
DVNAMIC MARKINGS Symbols that indicate loudness SOLO One person playing
or softness of the music SOUSA, JOHN PHILlP American composer
ELGAR, EDWARD English composer (1857-1934) ( 1854-1932)
FERMATAaZYXWVUTSRQPONMLKJIHGFEDCBA
(1 ':''\) Hold the note longer STACCATO ( .) Play the note 1f2 its normal length
1ST ANO 2ND ENDINGS Play the 1st ending first time STAFF 5 lines and 4 spaces used for writing music
through, then on the repeat, skip to the 2nd STRAUSS, JOHANN JR. Austrian composer
ending ( 1825-1899)
FLAT (~) Lowers the pitch of a note one half step SVNCOPATION Starting a note that is one beat or longer
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FOSTER, STEPHEN American composer (1826-1864) TCHAIKOVSKV, PETER 1. Russian composer
GLlERE, REINHOLD Russian composer (1875-1956) ( 1840-1893)

GRIEG, EDVARD Norwegian composer (1843-1907) TEMPO MARKINGS Terms which indicate the speed of
the music
HANDEL, GEORGE F. English composer of German
birth (1685-1759) TIE Joins two notes of the same pitch to make one
long note
HAVDN, FRANZ JOSEPH Austrian composer
( 1732-1809) TIME SIGNATURE Indicates how many beats are in each
measure and what kind of note receives one beat
HUMPERDINCK, ENGELBERT German composer
(1854-1921 ) TREBLE CLEF (~) Also called G clef. The second line .
INTERNAL REPEAT Repeat only the music between of the staff is the note G
the signs VARIATION Changing the rhythm or notes of a theme to
KEV SIGNATURE Indicates notes which are to be create variety
flatted or sharped throughout VERDI, GIUSEPPE Italian composer (1813-1901)
LARGO Very slow VIVACE Very fast tempo
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