8 Z REFERENCE INDEX Definitions (co) sr 19 World Music Accent 15 ort AFRICAN Accidental 16 Solo 2338 Rumba oo Allegro 11 Tempo 11 Andante 11 Theme AndVariations 18 ae pavol 35 srpeggie 28 te America The Beau 35 Bass Clef 5 ascein) Time signsure 5 pa es porunes 3 TiebieClet 5 (rebieclst) Hera ncWheell a9 Beat 4 To 35 0 The Whee Biues 21 Whole Note 7 Goran tad 6 + Michael Row The Boat Ashore 26 ca Composers + On op OF Old Smokey 21 cee JOHANN SEBASTIAN BACH + SkipTo My tou 10 eee + Choral om Cantata 147) 18 + Swing Low. Sweet Chariot 39 Gromtcsaie + Chorale 30 The Steets Of Laredo 28 eee + Minuet 20 + Waylaring Suanger 35 Dearne, 18 + Minuet 31 When Te Saints Go Marching In Decrescendo 11 LUDWIG VAN BEETHOVEN 127 Diminuendo 11 + Ode To Joy rom Sym.No.9) 13 AUSTRALIAN Dotted Half Note 14 + Theme From Symphony No.7 34 + Botany Bay 26 Dotted QuarterNote 22 JOHANNES BRAHMS AUSTRIAN Double ar 5 + Theme From Symioxt 38 + fusion Wale 25 Ovet 7 (ss Low wis) CANADIAN Dynamics 9 ANTONIN DVORAK + Alouette 14 ‘ Eighth Note: 10 + Theme From*New World Sym." 23 + OCanada 32 Eighth Rest 31 Ge Uae) Camptown Races 14 + Banana Boat Song 18 es 8 ‘Oh,Susanna 10 ‘CHINESE — Moin trom Peer Gyn) 15 enaust Ledger Lines 3 JACQUES OFFENBACH ISRAELI Measure 3 + Barcarolle 15 * Hatikva 30 Moderato 11 + William Tell 10 + CamivalOfVenice 29 Waltigls Meneure Rit, . 30 CAMILLE SAINT-SAENS. JAPANESE. sone © + Egyptian Dance. 34 + Sakura, Sakura 16 yy ganged’ east Ve . on ' eaveeraveenss = odr 51 84d ag7/ wht = SORPORAGAO MISO CFTTA Ey a7 CEP. 15.00-408 FINGERING CHART _esomos _ ,, 8 CLARINET a) Fi Gb Gi Ab A Ai Bbae FINGERING CHART Instrument Care Reminders {afore putting your instrument Bick nts case after laying do the following + leave the red, wipe of excess moisture and return itt the eed case + Remove the mouthpiece and wipe the inside wth a dlean cloth, Once a week, wash the mouthpiece with warm tap wate. Dry thorough + Drop a weighted chamois or cotton swab into the bel and pul ou through the bare ~ Carel twist ofthe bel and dy of any Additional moisture, Pace lt inthe cas. + Gently twist the upper and ower sections apart with th bell sti atached, Place the upper + Remove the bean place the bell and lower section backinto the case Asyou put each piace backin the cae check to be sure they ae dy ~Yourcase is designed to hold only speci objec Ifyou try to force anything else into the cae, t may damage your instrument. Incrument courtesy of Yama Corporation of Aerie, Bond and Orchestra ison Bb CLARINET @ = Pressed down Alternate Ongerings are used in certain situations ta allow for smoother technique. These ae shown tothe right of the more common fingerings : coggee Top ggagay/ cet 12? CONPORACAD ~USIGAL ul FERWANOO CLIS- LL retmanperouis — s.r,r 51844 827/yg44 wl oe CORPORACAO MUSICAL OF FeRAM CP. 1sc0n “6 Wea car mak your progress through the book on this page. Fill n the Lays as infmamacblonneiy bang director. 2 2 20 nn. 12, 13 “ 27 2 1 26 Z 25 a : : ESSENTIAL : STAR ACHIEVER ; 8 NAME ; 7 n 16 a MUSIC — AN. ESSENTIAL ELEMENT OF LIFEa CREATING MUSIC = Composition she atof wring original mse. A composer often begins by creating» melody ition Tad# uP a ncvidal phases, Ike shor musial’sentences” Some melodies have phrases tht seem 5 Z Composition answer or respond "question phrases asin esthoven's OdeTa Joy. Pay this melody adliten = to how phrases 2 and give sight diferent answers to the same question (phases 1 and 3) 1. ODE TO JOY Ludwig van Beethoven dvestion 7 SSS 2. Q. AND A. write your own “answer” phrases in this melody. ike 3.Question 4 Answer 4, YOU NAME IT: Pick phrase ABC. or D from above, and wite it as the ‘Question’ for phrases 1 and 3 below. Then write 2 diferent “Answers for phrases 2 amd 1.0 3.Question A.Answer «Improvisation ithe art of freely creating your own Improvisation melody o:youpay. Use these notes to py your own melody (une Ato gowitn he accompaniment (Une), == 5. INSTANT MELODY THEORY — "51944927 Zo0g1 427 = CORPORAGAO MUSICAL UE Fe tng Egi “31044 827/uuy4.497! CORPORACAG MUSICAL LE FeRNAN oO LLIS 8 % RHYTHM STUDIES Loot od + t Yoo, : oy, oon; pod, dy dy Dy by dy SIT hy hy fy chy SD by fr dtL DT, dp dy dy TI, by OL, by bY gO dyd,) [Deby dE, DOL, DD, hb, ge—bl 1} pot oy4 % RHYTHM STUDIES getty issn, ti, sy ge . Jd getty jy Jj jy poo om, om), oom, pein nin ny ny ge Dy ly nin, i) ny pe ys pi ge pn 1 Toygag ead aged 2 ~ COMPORAGAO MUSICAL UE FEANANJG CLIS Lo rsesnorauis = sr pyst egea2t/aputi2” Joe Oe GORPORACAS MUSICAL UE FERNANDOPOLIS RUBANK’ SCALE AND ARPEGGIO. STUDIES CLARINET KEY OF G (CONCERT F) in thistey signature play at's CLARINET KEY OF Bb (CONCERT Ab) inthis key signature play all8’s ond E's iF40 RUBANK’ SCALE AND ARPEGGIO STUDIES CLARINET KEY OF C (CONCERT B}) SSS Ss 54 gage27/0001-12 co PoRACAO MUSICAL DE FERNANGOPOLIS 08“5iesani,.. ~ CORPORA AD MUMEAL ut Femtuat wt creuis 39 ren DUETS tL memes 5 Here san opportunity to get together witha rend and enjoy plying music: The other piyer does not have to plapd) the some instrument as you, Try to exactly match each others rhythm pitch and tone quality, Eventual, t may begin te sound ike the two parts are being played by one person! Later try switching parts 186. SWING LOW, SWEET CHARIOT - Duet Andante Arican-American Spiritual 7A A a - Duet Mexican Folk Song D.C. Fine38 PERFORMANCE SPOTLIGHT sche woe Performing for an audience isan exciting part of being involved in music. Ths sols based on Serenade Solo with Piano _ inc Mojr,.525,a1s0 known as Eine Kleine Nachtmusik' A Little Night Music"). Wolfgang Amadeus Accompaniment Mozart smote this piece in 1787, the same year the American Constitution was signed into law. You and 2 plane accompanist cn perform this for the Bnd or at other school and community eves 185. EINE KLEINE NACHTMUSIK - Solo (concert B+ version) ‘Wolfgang Amade Allegro rE Arey J co {E ee a = yy gaa g27/ 000i-12 conpoRs ko MUSICAL OE FERNANDOPCLIS cer, 150080851 845827/uuyi-12 CORPORACAO MUSICAL DE FERWANOOPCLIS CEP. 15.600-000 7 PERFORMANCE SPOTLIGHT L 184, THEME FROM 1812 OVERTURE - Band Arrangement Allegro Feawanporous — s.r Peter Ilyich Tchaikovsky ‘Arby John Higgins tgPERFORMANCE SPOTLIGHT 182. AMERICA THE BEAUTIFUL - Band Arrangement Samuel A.Ward Macstoso Arby John Higgi ze FD pndante 4 « a u 183. LA CUCARACHA - Band Arrangement Latin American Folk Song Latin Rock Arby John Higgins fr : Tz pp asd baDAebed 12, -——. CORPORAGAD MUSICAL UE FERNANDO. CEP. 5.0.48 1 FRRNANDOFOLIS. —"SGT 107 PORPORAGKO MUSICAL F.anano,cu15 = CEP. 15,600.00 35 Russian composer Peter Ilyich Tchaikovsky (4840-1893) wwote six symphonies and hundreds of other worksincluding 3 The Nutcracker ballet. He was a master at writihgéilin SEMMARASRIR musi, aod his orginal melodies ae among the ‘ost popular ofl time, His 1812 Overture and Caprio ltaien were both written in 18BiRe year after Thomaston developed the practical elect ight bulb. 2 178. CAPRICCIO ITALIEN. Ainoys check thekey signature. Peter Ilyich Tchaikovsky Allegro FW. Meacham 180, WAYFARING STRANGER ‘African-American Spiritual Andantes ] —_trenchcompose Cal Sin Sane (1895-12) ote mito rualy every meus epee $ —_Ssrhonrand hari wos The gyn Ounce one of he inter Hom mous oper 2 ‘Samson et Delilah. The opera was written in the same year that Thomas Edison invented the phonograph—1877. 175. EGYPTIAN DANCE Watch forenhormonics. . . Comtlie Saint-Saens Akemnate fingering oe 176. SILVER MOON BOAT Chinese Folk Song 2 __ German composer Ludwig van Beethoven (1770-1827 i considered to be one of the world’s greatest composers despite becoming completely deaf in 1802, Athough he could not hea is music the way we canbe could "ear §_inmiemina. Asa testament toe greatness hs Symphony No, 99.13) was performed athena to the ceremony 3 Celebrating the reunification of Germany n 1990 This ste theme fom his Symphony No.7, second movement 177. THEME FROM SYMPHONY NO. 7 - Duet Allegro (moderately Fast) Ludwig van Beethoven mf A Fale | A ACS, aT CC YF fle — Ss? 51846 627/a001-12 * CORPORAGAG MUSICAL LE FERWANUOPOLIS CEP. 15.00-000 1 remanporous — 5. |*91944827/uou1-197 nO REL FERN a 33 om tana Clana e Gland x Enharmonics — {__—remancorouis — «. p FE ; Two noes hat re wien diferent butsound Ona plano heybootbach 2 the same (and played with the same fingering) are Blakey fs both ala and 8 called enharmonics. Your fingering chart on pages a sharp: 2 46-47 shows the fingerings forthe enharmonic notes on your instrument 7 169. SNAKE CHARMER Enharmonic notes use the same fingering, N/GE Gel lis 17 DARK SHADOWS ¥ 1 Pick-up note 171. CLOSE ENCOUNTERS EL/D# oe i 172. MARCH SLAV i womatic notes are altered with sharps, flats and natural signs which are not in the z Chromatic ey signature, The smallest dtance betwee two notes so hal-sepand scale made 5 Notes up of consecutive hal steps is called a chromatic scale. z 174, HAS lg boy 88 7 oe =p wea | Fi 01 6G pa ee ae Alternate fingering 3 Fhanernote ingeriog 2 FlAterarefingering32 165. DANCING MELODY - New Note Ab = “ Gof v A 000 American composer and conductor John Philip Sousa (1854-1932) wrote 136 marches. Known bband performed all over the country. and his fame helped boost the popularity of bands in Ameri a as“The March King," ica, Here isa melody Pa Ss Sousa wrote The Stars And Stripes Forever, Semper Fidelis, The Washington Post ani many other patriotic works. Sousa’s = from his Famous & Capitan operetta and march. 166. EL CAPITAN Allegro John Philip Sousa fe or Canada until 1980, one huncired years after its premiere. 167. O CANADA Macstoso (Majes “0 Canada,” formerly known as the ‘National Song," was frst 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 Calixa Lavalee Mon. Judge Routhier and Justice AS. Weir 168. ESSENTIAL ELEMENTS QUIZ - METER MANIA count and ciop before playing. Can you conduct this? A pa 5p agse27/uoot-t2 2 CORPORAGAO MUSICAL UE FERNANDOPOLIS ‘CEP, 15.400-1085 944827/c001-19 2 CO*PORACAD MUSICAL DF EFRNANDOBOL 7 ~— CEP. 15.690-800 * Le pte ae mm Im Eighth Note testo sound & Eighth Rest sf bevel ans di ds vodrh fies es 158. RHYTHM RAP FO yd bed dep dT by fe hy plod Lede tere tere tere rere verze tara rare 159. EIGHTH NOTE MARCH Seer es eee 2e 1428 1828 1828 160, MINUET Moderato Johann Sebastian Bach = et 161, RHYTHM RAP ee ee) ee eee eee Perec e oe 1e2e Fe He TAze THAR THPEZ HEHE 162. EIGHTH NOTES OFF THE BEAT e2e dese Terese ae Tere dese SSS SSS 164, ESSENTIAL ELEMENTS QUIZ 64. ea Be — Ap30 a B DAILY WARM-UPS _soscours ron rouesrecnmiove 154. RANGE AND FLEXIBILITY BUILDER 155. TECHNIQUE TRAX Jehann Sebastian Bach 156. CHORALE ‘The traditional Hebrew melody "Hatikvah" has been Israels national anthem since the nation’ inception, {At the Declaration of State in 1948, it was sung by the gathered assembly during the opening ceremony. ‘and played by members of the Palestine Symphony Orchestra at its conclusion. HISTORY 157. HATIKVAH Andante Israeli National Anthem 1 Ie = nf 7 51844827/ 01-12 CORPORAGAG MUSICAL DE FERWANOPOLIS ' rrunanmorouis — s,"94.044 827/0001-12" eerste rm gst ere 7 ene ak} Wa. Purdy Arby John Higgins PERFORMANCE SPOTLIGHT 152. SCHOOL SPIRIT - Band Arrangement ~! Measure Number Mareh Style Soli |when playing music marked Soli you are part of a group solo" or group feature, Listen carefully in “Carnival of Venice.” and name the instruments that play the Soll part at each indicated measure number 153. CARNIVAL OF VENICE - Band Arrangement Julius Benedict \r-by John Higgins Allegro wo feb John Higa uf —=y& © 7a seale isa sequence of notes in ascending or descending order. Like a musical "ladder," each Scale step is the next consecutive note in the key. This scale is in your Key of C (no sharps or flats), s0 the top and bottom notes are both C's. The interval between the C's is an octave. THEORY 147. CONCERT B» SCALE (Clarinet - C SCALE) 3 BE Seale tare ———$_———5, seri 234 8 7 i eee OE se + & ‘When two or more notes are played together, they form a chord or harmony. This C chord is S Chord & —iviictiom the st 3d and sth steps ofthe C scale The th step is the sarme asthe Ist but itisan BZ ArPeggIO octave higher. An arpeggio ia "broken chord whose notes are payed individual. 148. IN HARMONY bivie the note the chords between band members ond ply together. Does the apeggi sound ikea chord? ———Aroeggio 1—— Aipeagi0—— Chord a5 3d Chord 2s 3 a = E = 149. SCALE AND ARPEGGIO Scale Arpeagio Scale oh 2 —_ Austrian composer Franz Josef Haydn (1732-1809) wrote 104 symphonies, Many of these works had nicknames &S —_andincluded brilliant, unique effects for their time. His Symphany No, 94 was narmedThe Surprise Symphony” 3 ‘because the soft second movement included a sudden loud dynamic, intended to wake up an often sleepy audience. Pay special attention to dynamics when you play this famous theme, 150. THEME FROM “SURPRISE SYMPHONY” Franz Josef Haycin mf 151, ESSENTIAL ELEMENTS QUIZ - THE STREETS OF LAREDO ‘American Folk Song Wile in the note names before you play | ia Al Be “—~~-YGRPORAGAO MUSICAL BE FERNAN. 0 CIS cer. 150-400ic al B44uZi/ euyl 2 a CHP. s.0-008 138. EASY GORILLA JUMPS. 0n this exercise clarinets play a special part. SORA AON nner ce) 139. TECHNIQUE TRAX Alwcys check the key signature LL mavanorous — 5, = = SSO James Black and Katherine Purvis pe “zS a26 Repeat the section of music enclosed by the repeat signs. {iF Ist and 2nd endings are used they are played as usual — but {90 back only to the fist repeat sign, ot to the beginning) Repeat Signs 132. MICHAEL ROW THE BOAT ASHORE inte eit Aight Hand Down - African-American Spiritual 133. AUSTRIAN WALTZ Moderato Sf 134. BOTANY BAY py Allegro ¢ Time Signature Conducting 9 Commer | \ Csomeas4) Practice conducting THEORY this four-beat pattern, 135. TECHNIQUE TRAX Practice at all dynamic levels, epee 136. FINLANDIA Andante Jean Sibelius 137. ESSENTIAL CREATIVITY Greate your own variations by pening ino dot ond lag to change the rhythm ofanymeasuretiom ld J lrold. Bi a e448 827/000t-2¢ —_________ —egpponnh0 MUSIEAL OE FERNAND ‘cur, 15400-400854904827/e001-12 7 ——-CORPORAGAO MUSICAL-OE FERNANDOPCLIS ~ cor seamen 126. GRENADILLA GORILLA JUMP No. 4 , 1 kddregnteriey (___ MANANDOPOUIS — &. 129, TECHNIQUE TRAX f Anger dowrs hog Crossing en aternaing beeen igh and low reps ou ‘ Fi the Break — cankeepyourright hand fingers down on G,A and Bk 130. CROSSING OVER Fight hand down: (4 fegersdown)~ 1 (fingers down) ~ Trio A triois.a composition with three parts played together, Practice this rio with two other players and listen for 3-part harmony. 131, KUM BAH YAH = Trio Always check the key signature Anish Fok site Moderato24 SPECIAL CLARINET TECHNIQUE - Register Key Remember the following: ete Notes above Bb require the eo.tete) 1, Maintain a steady, fast stream of air. Reghster Key and are called 2. Keep your embouchure fim and your chin at “Upper rei" nes. GECaDeEnERe 5: oll your thumb up slightly to open the reise key. Great musicians give encouragement to fellow performers. On this page, clarinetists learn their instruments upper register in the “Grenadila Gorilla Jumps" (named after the grenadilla wood used to make clarinets). Brass players learn ip sturs.a new warm-up pattern, The success of your bond depends on everyone’ effort and encouragement 119. GRENADILLA GORILLA JUMP No. 1 Registerkey — yg 120. JUMPIN’ UP AND DOWN. aa 121, GRENADILLA GORILLA JUMP No. 2 ; li 1 Add egister key 122. JUMPIN’ FOR JOY 1 Add register key ge 3a d veda d 123. GRENADILLA GORILLA JUMP No. 3 1 Add register key 124, JUMPIN’ JACKS Oh a gee The distance between two pitches isan interval, Starting with"1"on the ower note, count each line Interval ara space between the notes. The number ofthe higher not the distance ofthe interval 2nd 3rd — ath: 1 5th 16th: 17th: 1 Octave 1 <——— Fo} 0: +o cms 3 z 4 = oFo7 fo? o7 oO o oO THEORY 125. ESSENTIAL ELEMENTS QUIZ write in the numbers ofthe intervals counting up from the lower notes AS == 51940927/0001-12 | CCORPORAGAO MUSICAL DE FERWANSO?OLIS Iniervals: 2nd cer. 00-008 LL rrmvanporous — sY“ibaaers CORPORAGAO MUSICAL OF FERNANLG ces —— fs 23 rr tse PERFORMANCE SPOTLIGHT... ‘You can perform this solo with or without a piano accompanist. PI the band. fe school oP Solo with Piano ‘your family. itis part of Symphony No.9 ("From The New World”) by Czech composer Antonin Accompaniment Dvorak (1841~1904), He wrote it while visting America in 1893, and was inspired to include ‘melodies from American folksongs and spiritual. This is the Largo (orvery slow tempo") theme. 118. THEME FROM “NEW WORLD SYMPHONY” Largo 4 [E]~ Measure number Antonin vara2 Dotted Quarter & Eighth Notes the value of the quarter note J. Der ceus Adecadastal Vom 2) 4 110. RHYTHM RAP go Du ea ets) ae A 111, THE DOT ALWAYS COUNTS jade Daerzeseae 2d or ere Tareseas > ~ Asingle eighth rote has a flag fon the stem. a Tn iz ow a 8 44) _ ; x tee — 112. ALL THROUGH THE NIGHT SSF of 113. SEA CHANTY always use fullairsteam. Moderato 114. SCARBOROUGH FAIR Andante English Falk Song 115. RHYTHM RAP 1J_J bd. cia » Tazeseee 116, THE TURNAROUND jit FL Terzesaae Parecade TA2es eae 117. ESSENTIAL ELEMENTS QUIZ - AULD LANG SYNE Tazese Tezesade te ae tezerase Scottish Folk Song ‘Andante . a Bgl De nz 3 Check Rh = nf =< aie e mo wan ugh -t2 | ___ a CORPORAGAO MUSICAL DE FERNANDOPOLIS cer, 15.0-008 an 1844820664 12 ie con = — a eC ee Cor. tss000 a 1 = L_remmanoorotas — z Natural — & —anaturalsign cancels at (yor sharp (f) and remains inetfectfortheentiemésstre, JB Es 105. NATURALLY —— BS] ‘Austrian composer Franz Peter Schubert (1797-1828) lived a shorter lfe than any other great composer, but he 2 {heated snineredble amount of musi: more than 600 art-songs (concert music fr voice and accompaniment) ten a syraphonles chomber musi operas, choral works and piano peces. is"March Mita” was orginal a piano duet. g 106, MARCH MILITAIRE Franz Schubert lear waa a SS Jl 108. ON TOP OF OLD SMOKEY Aer SS = = Boogie-woogie is style ofthe blues, and it was ist recorded by pianist Clarence Pine Top” Smith in 1928, z ‘one year after Charles Lindbergh's solo fight across the Atlantic. A form of azz, blues music features altered rt ‘notes and is usually written in 12-measure verses ke“Bottom Bass Boosie.” 2 109. BOTTOM BASS BOOGIE ~ DuetTAKE THE LEAD Alwoys cover the tone holes completely. 9 a SS 5 5 =4 7 i 33 aS z S Phrase A musialsentence" whichis often 2 or 4 measures long Try to pay a pase in one breath & 100. THE COLD WIND r Phrase 1 101, PHRASEOLOGY write in the breath mark(s between the phrases. 3 EE : zs 2 7 * f = New Key Signature Multiple Measure Rest tris key signature ‘The number above the staf tells you indicates the Key of play how many fll measures to rest. EaPsastsharps. Count each measure of rest in sequence: 102. SATIN LATIN Allegro % German composer Johann Sebastian Bac (1685-1750) was pat of age fay of famous muscons and FS _ccame the most recognized composer ofthe Baroque ea. Beginning 3s a choir member Bach soon become FF _smorgoist teacher anda pole compose wing more tan 600 masterwork. This inet or dance inset time wes w ‘35a teaching piece for use with an early form of the piano, 103. MINUET - Duet Moderato Johann Sebastian Bach of nf > 104, ESSENTIAL CREATIVITY this melody can be played in 3/4 04/4. Pencil in ether time signature, drow the bar lines and bilay, Now erase the bo lines and try the other time signature. Do the phrases sound diferent? Be ‘CORPORACAO MUSICAL UE FERN so mananporous — 8""99844821/ uuui-e? CORPORACAO MUSICAL DE FERNANDOT CLs. CEP, 15.600.000 a7 Sher Aaharp sign aesshe pitch ofa note by ahalitep. the nol PIANO anAtep _p P above and als become sharps forthe et ofthe measure where they occ “ § 92. RAZOR'S EDGE - New Note Ft G5. 93. THE MUSIC BOX Moderato P aft African-American spirituals originated in the 1700's, midway through the period of slavery in the United States. One ofthe largest categories of true American folk music, these primarly religious songs were sung and passed on for generations without being written down, The frst collection of spirtuals was published in 1867, four years after The Emancipation Proclamation was signed into law. AMOLSIH: 94 REEKEL. SAW THE WHEEL ‘African-American Spiritual 95. SMOOTH OPERATOR - 7 ¥¢ a= = 2 Slur 2 notes = tongue only the frst 96. GLIDING ALONG tf Ragtime is an American music style that was popular from the 1890's until the time of World War | This early form of, jazz brought fame to pianists like “Illy Rol” Morton and Scott Joplin, who wrote “The Entertainer" and" Maple Leaf fag,” Surprisingly, the style was incorporated into some orchestral music by Igor Stravinsky and Claude Debussy. The trombones now learn ta play a glisando, a technique used in ragtime and other styles of music 97. TROMBONE RAG 7 Slurd notes - tongue only the ist. D.C. al Fine fate7 ZB DAILY WARM-UPS oo sroscours ron roncerecunsove 86, TONE BUILDER Usea steady stream of a. 87. RHYTHM BUILDER 88, TECHNIQUE TRAX = 89. CHORALE (Adapted from Cantata 147) Johann Sebastian Bach P S=S —— ‘A musical form featuring a theme, or primary melody, Theme and Variations {hove by variations, or aered versions ofthe treme THEORY 90. VARIATIONS ON A FAMILIAR THEME Theme Variation + ot Variation 2 ‘ [At the D.C.al Fine play again from the beginning, stopping at Fine (fe’- nc. D.C. al Fine .c.is the abbreviation for Da Capo, or"to the beginning," and Fine means"the end.” 91, BANANA BOAT SONG Caribbean Folk Song Moderato Fine D.C. al Fine"5t899g27/ug01-177 CORPORACAO MUSICAL BE FERNANIORCLI5 ea ” 78. UP ON A HOUSETOP ' re - = et : | = 2 ea aa Been f 79. JOLLY OLD ST. NICK - Duet Moderato See page 9 for additional holiday musi, MY DREYDL and JINGLE BELLS. 80. THE BIG AIRSTREAM Se 81. WALTZ THEME (THE MERRY WIDOW WALTZ) Moderato Franz Lehar nf 82. AIR TIME - New Note lug ie 84, ESSENTIAL ELEMENTS QUIZ A a 85., ESSENTIAL CREATIVITY Using these notes improvise your own rhythms: Ge2 Accidental Flat b 3 Any sharp flat or natural sign which A flat sign lowers the pitch of a note by ahalf-tep. The 32 appears in the music without being in ote Bat sounds a half-step below 8, and all 6's become the key signature is called an accidental ‘flats forthe rest of the measure where they occur, 73. HOT MUFFINS - New Note Bb =| 74, COSSACK DANCE Allegeo eat f 75. BASIC BLUES - New Note mail | Flat applies to allBS in measure 081 == : : = ‘This Key Signature indicates the Play through the 1st Ending. Then play the repeated section 76. HIGH FLYING Moderato 2nd og. mm Enamels nly stn nie hin. ir aa as prreden nnent h5 & —_seiotoats-ringicvomen tate more shana ye lgandne sha or bao re Teme B_SRiMr usb bese nein msm te pan ret) eed ral 77. SAKURA, SAKURA - Band Arrangement Japanese Folk Song ‘Andante At-by John Higgins 54 940820 ud ‘CORRORAGAD MUSICAL UE FERNAN:| cur, 5.0008 , evonsnnorous — 5% od)V5) pag82i- oui i APORAGAG-MUSICAL Of FEANANLOWCLIS 3 Time Signature | reranoorous — 5. _) Conducting ‘Quarter note gets one beat thvee beat pattem 66. RHYTHM RAP Posada 67. THREE BEAT JAM. 280UHL Ve2e3e 14283e Te2e3H Te2ese TA2eTe Te2HZe TE PATH 1E2GZE 68. BARCAROLLE Moderato Jacques Offenbach ob E e Norwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suite fora play by Henrik Ibsen in 1875, the year = beiore the telephone was invented by Alexander Graham Bel "Morning" sa melody from Peer Gynt Suit, Music 2 used in plays,orn fms and television is clled incidental muse 3 2 69. MORNING (from Peer Gynt) Andante Edvard Greg se Accent = ¢ Emphasize the note. 70. ACCENT YOUR TALENT Pld dda Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diverse ‘music features lively accompaniments by drums and other percussion instruments such as maracas and claves. ‘Music fram Latin America continues to influence jazz, classical and popular styles of music. “Chiapanecas" is a popular children’s dance and game song 2 8 Latin American Folk Song 71, MEXICAN CLAPPING SONG (“Chiapanecas”) ee oe 2 f = 72. ESSENTIAL CREATIVITY Compose your own music for measures 3. and 4 using this chythm: dod SiTA 14 d t bbe4 ; ‘A curved line connecting notes ofthe same pitch. Play Tie che note for the combined counts ofthe ted notes. 59. FIT TO BE TIED 2beats 60. ALOUETTE French-Canadian Folk Song beats 3 Dotted Half Note d, ——m = s sent di oo ded) wid: 61, ALOUETTE - THE SEQUEL French-Canadian Folk Song = & American composer Stephen Collins Foster (1825-1864) was born nea Ptsburgh,PA, Hehas become te most ecognized songwriter of his time for works such as’Oh Susanna,” which became popular during the Califormia Gold Rush of 1849. Among his most well-known songs are"My Old Kentucky Home’ and "Camptown Races.” 62. CAMPTOWN RACES Stephen Collins Faster Allegro Steplren Cotics Fos af 63. NEW DIRECTIONS - New Note \ = 1G 64, THE NOBLES Aivays use full aistream. Keep fingers above the tone holes, curved naturally Sbeats 3 65. ESSENTIAL ELEMENTS QUIZ Za Bi . peemsnporous — 5% od)i, IANA B2TZeyyy jg COMPCRACAY,, WUSICAL Fenwanvortbas PERFORMANCE SPOTLIGHT cen sama "maven 55. WHEN THE SAINTS GO MARCHING IN - Band Arrangement” MANDOrOLIS — 5, », =) Allo ~! Measure number ‘Arby John Higait 57. ODE TO JOY (from Symphony No. 9) Ludwig van Beethoven ‘Arby John Higgins John HigginsPERFORMANCE SPOTLIGHT 52. PERFORMANCE WARM-UPS TONE BUILDER RHYTHM, PUN ony nny CHORALE Andante ——SS—= 53. AURA LEE - Duet or Band Arrangement (Part A= Melody, Part 8 = Harmon Andante ‘ ae m George R. Poulton 54, FRERE JACQUES ~ Round (ivien group A reaches ®, group 8 begins ot @) ‘Moderato French Folk Song @ of 54 848027 /0001-12 7 | CORPORAGAO USiGaL = 4 beats = ° 4 Beat of Silent Beats Taresede Te2eaade hangs from sitsona astafling ——staffline 20. RHYTHM RAP. Ciap the tim while counting and topping, lop fo— JJ 114 t¢d—dte Ve2edade 1e2e3e4e 14285 HAE THPATEFE THIRIHAD TH2ATEdE 21. THE WHOLE THING Va2edede 1e2e3Hhe THe2ETese 14245E4e 1E2ETEAE TH2EIEED Duet ‘A composition with two different parts played together. 22. SPLIT DECISION - Duet Key cs ‘The Key Signature tells us which notes to play with sharps (f) or flats (b) throughout Signature the must Your Key Signatur inlets the Key of (no sharps ofa ‘kO3HL 23. MARCH STEPS 24, LISTEN TO OUR SECTIONS vr Woodwinds ass Percussion Woodwinds Brass Per Wwe Brass ll 25. LIGHTLY ROW 26. ESSENTIAL ELEMENTS QUIZ Draw inthe bar lines before you play. BoreS Io F ilo E ile D Notes In Review ig tig - ls Memorize the fingerings forthe notes youve leaned: y 00010 ‘eco ~~ 14, ROLLING ALONG Goto thenext line. 7 ie Double Bary Half Note Tare Tere 15. RHYTHM RAP Ciop the rhythm while counting and tapping. Giop Repeat Sign 4¢—Ll 4d jd _J tid jdddJjJ Ve203048 14283048 1H2ET HSE 142ESEAE THPETESH THDHIEAE 16. THE HALF COUNTS e Te2e3e4e 18263644 1e2e3e4H Te2UsEde TE2HT HAG THDAIESH 17, HOT CROSS BUNS check your embouchure and hand positon. Breath Mark ’ ‘Take a deep breath through your mouth after you play a full4ength note. 18. GO TELL AUNT RHODIE ‘American Folk Song Jo1o4 os 2 4 dos 3 — bc oO E sd — — “yppage2rontse CCORPCRACAO MUSICAL UE FERNAN YG}vbusaue,/ uuUI-t ORPORAGAD MUSICAL DE FERNAN JO 13 LL Tavanonrous — s, 4 5 indicates the end _ ‘Without stopping, play once Double Bar ofa piece of musi Repeat Sign again from the beginning, 7. THE LONG HAUL i DE Double Bar + SSS SS SSS B2es aoe Terese ae Tereza ae Counbiag: Te 2 aS eae 9, TOUCHDOWN 10. THE FAB FIVE Te2edese 10283848 THerer eae Treble Clef Time Signature Note Names (GClef) Indicates how many beats per measure Each note'is on a line or space of the staff. These = Abeats per measure staff: Second line a iso. S 3 = 2 Sharp — ¢ caises the note and remains in effect forthe entire measure. Flat blowers the note and remains in effect for the entire measure. Natural} cancels. fat by or sharp ¢f) and remains in effect for the entire measure. 11, READING THE NOTES Compare this to exercise 1, THE FAB FIVE : se How 2) es eee a alae de dw 2am ew ee fe 2) se 4) 12. FIRST FLIGHT 6!To begin well use a special Long Tne” note, Hold he rone unl your Long Tone = OP ieacher tls you to rest. Practice long tones each day to develop yout sound, : 3 1, THE FIRST NOTE [io Heldeachlona one unt your teacher eyou rors I : 8 = = 2 ——— “G*isplayed open. Keep your fingers relaxed and curved above the tone holes. The Beat Notes And Rests The beat s the pulse of music and tke your heartbeat it Notes tell us how high or ow to play by their placement on should remain very steady. Counting aloud and foot-tapping ane of space ofthe musi staff, how long to play by help us maintain a steady beat. Tap your foot dawn on each their shape, Rests telus to count silent beats rjumber and up on each"8." Onebeat =1 6 quarter note = 1 beat ut 2 auartertest 1 silent beat 2. COUNT AND PLAY count 3. A NEW NOTE Ito tookforte ingring agra wit each new nove F 8 8 8 8 13 The block icles tell you which tone holes to cover or keys to press. "Fis played with the eft thumb. 4. TWO’S A TEAM = doe “} == i 'e—e—@ a Coumteto: 1 283 HH e 1TH2HF HHH TePaTHAH TEPHT EME 5. HEADING DOWN ie E: 3 8 8 6. MOVING ON UP : : = o_o = Ee == e Te2esese Taresage THerzezase 54 844627/ oui 12! CORPORAGAD “USICAL VE FERNANLO LIS ‘oe oe Coumeto: Ve 2a3 84 Cer. a Lt FRRNANDOPOLIS — 5. P. J :CO sFOR. (= 3 Getting It Together Ifyou just played the MOUTHPIECE WORKOUT, begin by carefully Cod are removing the reed. Otherwise, take the reed from ts case L._mmannorous — s.r. Step 1 Put the thin end of the reed into your mouth to mouthpiece: = ‘moisten it thoroughly while assembling your ltgoom instrument. If needed, rub a small amount of cork grease on all corks. Clean hands. Step 2 Hold the lower section in the palm of your left hand, with the key work facing up. Do not put any pressure ‘on the long rod. Pick up the bell with your right hand and gently twist it onto the cork of the lower section. Step 3. Hold the upper section in your right hand so you can depress the lower of the two open rings with your second finger. Gently twist the upper section into the lower section. Check that the bridge key on the register key | upper section crosses directly over its connector on, thumbs key —+ the lower section, The tone holes of the two sections | should be aligned. Step 4 Hold your instrument in your left hand, near the top tome hotes: of the upper section. Pick up the barre in your right hand and gentiy twist its larger end onto the top of, the upper section, brldge keys Step 5 Twist the mouthpiece into the barrel. The flat side of the mouthpiece should form a straight line with the register key and thumb rest. Place tone hetoss the reed on the mouthpiece (see page 2) Step 6 ith your right thumb under the thumb rest lower section a and left thumb on the | ‘thumb key, use the pads . of your fingers to cover the tone holes, Your | fingers should curve naturally. Bring the clarinet up as shown eet Pulte on the lef READING MUSIC entiyand draw each ofthese symbols: Music Staff Ledger Lines Measures & Bar Lines = Measure Measure 5 y 3 sortie Bartine|——Barline Themusiestaff < + Ledger lines extend Bar lines divide the music staf has Sines anda che music staf into measures spacés where * * Notes on ledger ines * fotes and resis can be above or are written. below the staffTHE BASICS Posture Siton the edge of your chai, and always keep your: + Spine straight and tal + Shoulders back and relaxed Taking Care Of Feet flat on the floor Your Instrument Before putting your instrument back in its case after playing. do the following Breathing & Airstream Breathing isa natural thing we all do constantly. To discover the correct airstream to play your instrument: FRamoubine read. yapeol Place the palm of your hand near your mouth Sees ceieuctdicumi . | inhale deeply through the corners of your mouth, keeping your shoulders steady. Your waist should expand tke a balloon. + Slowly whisper°too"as you gradually exhale air into your palm. to the reed case Remove the mouthpiece and wipe the inside with a clean The air you feel is the airstream. It produces sound through the instrument. cloth. Once a week, wash the Your tongue is iké a faucet or valve that releases the airstream. mouthplece with warm tap water. Dry thoroughly Producing The Essential Tone + Drop 2 weighted chamois or Your embouchure (ahm -bah-shure) is your mauth’s position on the cotton swab into the bell and ‘mouthpiece ofthe instrument. A good embouchure takes time and effort, pul tout through the barrel 50 carefully follow these steps for success + Carefully twist off the barcel and esin rence dry off any addtional moisture. Place it in the case. + Gently twist the upper and lower sections apart, with the bell stil attached. Place the ‘upper section in the case. Remove the bell and place the bell and lower section back into + Put the thin end of the reed in your mouth to moisten it thoroughly. + Looking at the flat side of the mouthpiece, the ligature screws extend to your right, Slide the ligature up with your thumb. Place the flat side of the reed against the mouthpiece under the ligature. Lower the ligature and position the reed so that only a hairline of the ‘mouthpiece can be seen above the reed, + Gently tighten the ligature screws. the case. EMBOUCHURE + Asyou put each piece back in + -Molsten your lips and roll the lower ip over your bottom teeth. the case, check to be sure Firm the comers of your mouth like a slightly puckered smile, they are dry. ‘Stretch your chin downward. + Your case is designed to hold + Place the mouthpiece on your lower lip so thatthe reed extends about only specific objects f you ‘/2inch into your mouth. Place upper teeth on top of the mouthpiece. tny to force anything else into + Close your mouth around the mouthpiece. Keep the comers of the the case it may damage your mouth firm and the chin pointing downward. instrument | MOUTHPIECE WORKOUT Form your embouchure around the mouthpiece, and take a deep breath without raising your shoulders. Whisper "too" and gradually exhale your full airstream. Strive for an even tone. o—— | REST | o—— | REST "30" woo" 54 pagea7/uoot 12Bb CLARINET BOOK 1 i COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Band is... Making music with a family of lifelong friends Understanding how commitment and dedication lead to success ‘Sharing the joy and rewards of working together. Individuals who develop self-confidence, Greativity—expressing yourself in a universal language. Band is... MUSIC! Stike up the band, Tim Lautzenheiser Tasos ne cea instument maker Johann Dene iene the clarinet by wasforming the double reed “chalumeau’(shall-you-mo) into a single reed instrument. Since the chalumeau could only play notes in alow range, he added a register key"to allow his new instrument to play higher notes. The word clarinet comes ftom the Italian word carino, used for an older type of high-pitched trumpet ‘Today the low range ofthe clarinet is stil called the chalumeau register, because of the low notes of, the original chalumeau, By the 18405, two French instrument makers named Klosé and Buffet had created a clarinet fingering system modeled after the flute key system designed by Boehm. Nearly all lrinets today are made with the Boehm system. The clagnet family includes the Bb Clarinet, the A Clarinet (used in some orchestra music), the & Bass Clarinet, the € Soprano and Alto Clarinets the & Contrabass Clarinet and Qh Contrabass Clarinet Fingerings ae virtually the same forall clarinets, making it possible fora clarinetist to play any of the AANIIWID AHL 40 ANOLSIA instruments. As one of the primary instruments in the sound of a concert band, clarinets play melodies, harmonies and solos Mozart, Brahms, Weber, Bartok and Hindemith are among the important composers who have featured clarinets in their writing. Some famous clarinetsts include Richard Stoltzman, Benny Goodman, Eddie Daniels and Stanley Drucker. 54 90a827/va01-12 "SON 0-634-00314-3 CORPORACAG MUSICAL wt. FLANANUO! CLS Copyright © 1998 by HAL LEONARD CORPORATION International Copyright Secured lights Reserved cP. 1.00008 HAL*LEONARD* ORPORAT HON [, MNANnorOnS — sm YWOU YEUEGEULUELEUUYBb CLARINET BOOK 1 °°] ESSENTIAL PLUS COMPREHENSIVE BAND METHOD T5194ge27/uooi 12! TIM LAUTZENHEISER SOUNIMICGINS CORPORAGAO MUSICAL 9 FEAWANL LA) CHARLES MENGHINI PAUL LAVENDER Se TOM C. RHODES LL ramanporous — sy DON BIERSCHENK Vain. EONARD” MIC ORPORATION