B) CLARINET BOOK 1 (39) ESSENTIAL Sa ELEMENTS Plus COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK @ HAL*LEONARD®g . Bb CLARINET BOOK 1 Ss i COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Bands. Making music with a family of lifelong friends Understanding how commitment and decication lead to success. ‘Sharing the joy and rewards of working together. Individuals who develop self-confidence. Greativty expressing yoursefn a universal language. Bands... AUSECE Strike up the band, Tim Lautzenheiser Ho sso tne Geman rstrument maker Jann Denne vented the caine by vansforing the double reed ‘chalumeau(shall-you-mo) into a single reed instrument. Since the chalumeau could only, play notes ina low range, he added a "register key" to allow his new instrument to play higher notes. ‘The word clarinet comes from the Italian word clarino, used for an older type of high-pitched trumpet. “Today the low range of the clarinet is stl called the “chalumeau register, because of the low notes of the original chalumeau. By the 18405, two French instrument makers narmed Klosé and Buffet had created a carinet fingering system modeled after the flute Key system designed by Boehm. Nearly all clarinets today are made with the Boehm system. ‘The clarinet farily includes the Bb Clarinet, the A Clarinet (used in some orchestra music), the Bb Bass Clarinet, the E Soprano and Alto Clarinets the Eb Contrabess Clarinet and 8 Contrabass Clarinet. Fingerings are virtually the same for all clarinets, making it possible for a clarinetist to play any of the instruments. As one of the primary instruments in the sound of 2 concert band, clarinets play melodies, harmonies and solos. Mozart, Brahms, Weber, Bartok and Hindemith are arnong the important composers who have featured clarinets in their writing. Some famous clarinetists include Richard Stoltzman, Benny Goodman, Eddie Daniels and Stanley Drucker. LINISVTD aH 40 AUOLSIH. ISBN 0-634-003143 CCopytight © 2004 by HAL LEONARD CORPORATION Intemational Copytight Secured All Rights Reserved HAL*®LEONARD® CORPORATIONTHE BASICS Posture Sit on the edge of your chair, and always keep your: + Spine straight and tall + Shoulders back and relaxed Taking Care Of + Feet flat on the floor Your Instrument Before putting your instrument Breathing & Airstream back inits case after playing, do Breathing isa natural thing we all do constantly. To discover the correct the following airstream to play your instrument: + Remove the reed, wipe off + Place the palm of your hand near your mouth. excess moisture and return it + Inhale deeply through the comers of your mouth, keeping your othe eat cass! shoulders steady. Your waist should expand like a balloon. + Remove the mouthpiece and + Slowly whisper“too’as you gradually exhale air into your palm. wipe the inside with a clean cloth. Once a week, wash the mouthpiece with warm tap water. Dry thoroughly. The alr 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 + ropa weighted chamois or Your embouchure (ahm -bah-shure) is your mouth’s position on the cotton swab into the bell and mouthpiece of the instrument. A good embouchure takes time and effort, ull it out through the barrel, 50 carefully follow these steps for success: + Carefully twist off the barrel and dry off any additional moisture, REED PLACEMENT Place it in the case. + Put the thin end of the reed in your mouth to moisten it thoroughly. + Gently twist the upper and + Looking at the flat side of the mouthpiece, the ligature screws extend to lower sections apart, with the your right. Slide the ligature up with your thumb. bell still attached. Place the + Place the fiat side of the reed against the mouthpiece under the ligature. upper section in the case. + Lower the ligature and position the reed so that only a hairline of the + Remove the bell and place the ‘mouthpiece can be seen above the reed. bell and lower section back into * Gently tighten the ligature screws. the case. * As you put each piece back in EMBOUCHURE the case, check to be sure * Moisten your lips and roll the lower lip over your bottom teeth. they are dry. + Firm the comers of your mouth lke a slightly puckered smile, + Your case is designed to hold + Stretch your chin downward, only specific objects, if you * Place the mouthpiece on your lower lip so that the reed extends about 1/2 inch into your mouth. Place upper teeth on top of the mouthpiece. * Close your mouth around the mouthpiece. Keep the corners of the ‘mouth firm and the chin pointing downward, try to force anything else into the case, it may damage your 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. | REST | o—— | REST to0” “WOO”Getting It Together Ifyou just played the MOUTHPIECE WORKOUT, begin by carefully removing the reed. Otherwise, take the reed from its case. Step 1 Step 2 Step 5 Put the thin end of the reed into your mouth to moisten it thoroughly while assembling your. instrument. fneeded, rub a small amount of cork grease on all corks. Clean hands. 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 cotk of the lower section. 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 upper section crosses directly over its connector on the lower section. The tone holes of the two sections should be aligned. Hold your instrument in your left hand, near the top of the upper section. Pick up the barrel in your right hand and gently twist its larger end onto the top of the upper section. ‘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 the reed on the mouthpiece (see page 2). Stop 6 on the left: READING MUSIC Music Staff Ledger The music staff Ledger lines extend has lines and 4 the music staff. spaces where notes and rests are written. can be above or below the staff. With your right thumb under the thumb rest 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 Notes on ledger lines mouthpiece. ligature__¢f cork register key thumb key tone holes: F Identify and draw each of these symbols: Measures & Bar Lines Measure Measure a a Bar tine BarLine Bar lines divide the music staff into measures. Bar LineLong Tone 9 ©O————_> 1. THE FIRST NOTE Hold each tong tone until your teacher tells you to rest. c00100 ili "is played open. Keep your fingers relaxed and curved above the tone holes, The Beat ‘The beat is the pulse of music, and lke your heartbeat it should remain very steady. Counting aloud and foot tapping help us maintain a steady beat. Tap your foot dowm on each umber and up on each.” ‘Onebeat =1 & Lt 2, COUNT AND PLAY oe com 18283 &4& Tae2azada Te STU TUETST Ltt tit A NEW NOTE 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. Nofes And Rests Notes tellus how high or low to play by their placement on a line or space of the music staff and hovr long to play by their shape, Rests tellus to count silent beats. 4 cuarternote 2 Quarter Rest I beat silent beat ae ae en se ee 4 The black circles tell you which tome holes to cover or keys to press, "F's played withthe left thumb. TWO’S A TEAM dodo tt -O—e Const: 18283 84% Leraezsere 5. HEADING DOWN idle E 6. Practice long tones on each new note. 20010% MOVING ON UP | Counter 1 &# 2eSa4e 1 e2eseaa Te2e3e4ae 1 Te2eseaeeu 15 Without stopping, play once again from the beginning. indicates the end Repeat Sign of a piece of music. Double Bar THE LONG HAUL i Double Bar D st REST REST. | oo . FOUR BY FOUR Repeat sian Coum&to: TR 2RFRAR THPHS HSH TAZ HAH T 9. TOUCHDOWN Cc 8 8 8 10. THE FAB FIVE —> oS ree eee Pe2aezsase 182863848 1e2Hsa4H TH2AS EAE Treble Clef Time Signature Note Names : (6 Clef} indicates how many beats per measure Each note is ona line or space of the staf. These indicates the and what kind of note gets one beat. _note names ate indicated by the Treble Cle. i position of note ames on @ music = = Abeats per measure staff: Second line = Quarternote gets one beat 56. Sharp —— £ raisesthe note and remains in effect for the entire measure. Flat towers the note and remains in effect for the entire measure. Neaatural cancels flatd or sharp () and remains in effect for the entire measure, 11. READING THE NOTES compare this to exercise 10, THE FAB FIVE. Te 2es ede TA2HeF HER THE2PHRF HAR THPHF AAS 12, FIRST FLIGHT 13. ESSENTIAL ELEMENTS QUIZ Aillin the remaining note names before playing. Cs 3 SSS = oe: Sits Eis Notes In Review 8 Ses Memorize the fingerings Se 8 8 {or the notes you've leamed: 8 = 8 14. ROLLING ALONG Goto thenextiine. 9 Double Bar y Half Note Half Rest d ——> = 2 Beats <2 Silent Beats 1la2e Tare 15. RHYTHM RAP ciap the rhythm while counting and tapping. on ReoecSign¥ fd 2 joss jd J dd 4 TR2e3e4e 1H2HFAAE TAPRIEAG 14283848 THE2HZASHR 1E2EZ HAE 16. THE HALF COUNTS VE2G3H48 1E2HTH4E 1HIKFUAE TH2ETE4E 1H2KFTEAE 1A2EZA4E VWZe HOT CROSS BUNS check your embouchure and hand position. i Breath Mark ’ Teke a deep breath through your mouth after you play a full-length note. 18. GO TELL AUNT RHODIE ‘American Folk Song 19, ESSENTIAL ELEMENTS QUIZ. using the note names and rhythms below draw your notes on the staff before playing,| 7 Whole Note Whole Rest Whole Rest Half Rest A Whole Measure ————> = 4 Beat . 2 4 Beas of Silent Beats Ta2esade 1e2a3a4e hangs from —_sitsona astaffline, —staffline 20. RHYTHM RAP ciptherhythm white counting ond tapping ° id ttt. ) J 1 dt. { bapesede 1azesaee 1ezesege Te2e2e4e Le2esase TADes eae 21, THE WHOLE THING Teas G4e 1R2AIRAG 1EPLTH4E 1UZGFHAE 1EPEZHAK THPHTEAE Duet ‘A composition with two different parts, played together. 22, SPLIT DECISION - Duet A Key & ‘The Key Signature tes us which notes to play with sharps (H) or flats (b) throughout Signature the music. Your Key Signature indicates the Key of C(no sharps or flat). ‘AMORHL 23. MARCH STEPS 7 S4aIg tt 24, LISTEN TO OUR SECTIONS Percussion Woodwinds Brass Percussion Woodwinds Brass Pe, Ww. Brass All = 25. LIGHTLY ROW 26, ESSENTIAL ELEMENTS QUIZ Draw in the bar lines before you play. Bee =8 Fermata oN Hold the note (or rest) longer than normal. ao 27. REACHING HIGHER - New Note Practice long tones on each new note. Fermatay {ile ; ' = Ate 4325555 E 8 7 eo eo wo[s d ge rv 2 28. AU CLAIRE DE LA LUNE French Folk Song, 29. REMIX Harmony ‘Two or more notes played together. Each combination forms a chord. | THEORY. 30. LONDON BRIDGE - Duet English Folk Song A E 3 E susan composer Wolfgang Amadeus Morar (1736-1791) nas hil pri who std pong prfessonaly t 2 age six and lived during the time of the American Revolution. Mozart's music is melodic and imaginative. He wrote more 2 than 600 compositions during his short life, including a piano piece based on the famous song, "Twinkle, Twinkle, Little Star.” 31, A MOZART MELODY Adaptation £E BS SS === === oe es eee eo 32, ESSENTIAL ELEMENTS QUIZ draw these symbols where they belong and vite in the note names before you play:: 33. . DEEP POCKETS ~ New Note Bei : . : a eo) 3B 34, DOODLE ALL DAY cle ‘One or more notes that come before the first full measure. The beats of Pick-Up Notes are Pick-Up Notes sipicacted from the last measur. 36. A-TISKET, A-TASKET 1, Pick-up note = 4a 1e2a3eae Varese ff forte (playloudly) mf’ mezzo forte (play moderately loud) ~piano (play softy) Dynamics ‘ Remember to use full breath support to control your tone at all dynamic levels. 37. LOUD AND SOFT 38. JINGLE BELLS Keep your fingers close to the keys, curved naturally. J.S.Pierpont f10. Eighth Notes ee n Each Eighth Note = 1/2 Beat Ja IT Two ormore Eighth _y Beam 2Eighth Notes = 1 Beat Notes have a beam J Ja: Saad 1 & Playon down and up taps. Ta2e actoss the stems, 40. RHYTHM RAP Ciap the rhythm while counting and tapping. Wi WT @2ezsaae @2ese ee Tke2es ese THz esaHR 41. EIGHTH NOTE JAM Te 2esa4e Te 2es ase Tazesaesn 1er2-esnse 42. SKIP TO MY LOU ‘American Folk Song 43. LONG, LONG AGO Good posture improves your sound. Always sit straight and tall. . P 44. OH, SUSANNA E _totan composer loechin Roan 1782-186 gn composing a eageand vase pen on the na 5 viola and hom. He wrote “William Tell” at age 37 as the last of his forty. ‘operas, and its familiar theme is still heard today on B tioandtelisin 2 45. ESSENTIAL ELEMENTS QUIZ — WILLIAM TELL Gioacchino Rossini == ee ca ee rae ==] steeez Time Signature Conducting a T\Ne Z GE cites ote bait bast pater 2 46. RHYTHM RAP cap \ ee pots +4 Te2ze ve2zad e 182% 1428 18 a 1a2e 47. TWO BY TWO Ta2e 1a2e81e@28@ 1822 Te2e Taeze tarzse 1He2e Tempois the speed of music, Tempo markings are usually written above the staff in Italian. Allegro -Fast tempo Moderato Medium tempo Andante - Slower walking tempo Tempo Markings aavancké 48. HIGH SCHOOL CADETS - March John Philip Sousa Allegro f aoe tlt oe Nena 49. HEY, HO! NOBODY’S HOME - New Note Agi iiodeeete sceec _ 2 coer w~ mics Dynal Crescendo (gradually louder) Decrescendo or Diminuendo (gradually softer) 50. CLAP THE DYNAMICS pom oy Aa — 51. PLAY THE DYNAMICS12 PERFORMANCE SPOTLIGHT 52. PERFORMANCE WARM-UPS TONE BUILDER RHYTHM ETUDE RHYTHM RAP pod FY 14 leis eee ne ‘CHORALE Andante e P 53. AURA LEE - Duet or Band Arrangement (Part A= Melody, Part 8 = Harmony) George R.Poulton Andante of nf : P 7 =; 4 => 54. FRERE JACQUES ~ Round (ivhen group Areaches @) group Bbegins at D) Moderato French Folk Song ® ® mfPERFORMANCE SPOTLIGHT 55. WHEN THE SAINTS GO MARCHING IN - Band Arrangement 3 Allegro, ‘Ars by John Higgins <2 Measure number a 56. OLD MACDONALD HAD A BAND - Section Feature Allegro uf 3 2nd time goon to meas.13 Sf 57. ODE TO JOY (from Symphony Ne. 9) Ludwig van Beethoven Moderato ‘by John Higgins uf Bl f 58. HARD ROCK BLUES ~ Encore ues John Higgins f14 Tie A curediine connecting notes of the same pitch. Play ‘one hote for the combined counts of the tied notes. 59. FIT TO BE TIED Se 2beats 3 60. ALOUETTE French-Canadian Folk Song 3 beats Dotted Half Note Jee see d+ be dot od. Terese ‘A dot adds half the value of the note. 2 beats + Theat = 3beats 61. ALOUETTE - THE SEQUEL French-Canadian Folk Song American composer Stephen Collins Foster (1826~1864) was born near Pittsburgh, PA. He has become the most recognized ‘song writer of his time for works such as "Oh Susanna,’ which became popular during the California Gold Rush of 1849. ‘Among his most well-known songs are“My Old Kentucky Home" and"Camptown Races.” = s & = 62. CAMPTOWN RACES Allegro Stephen Collins Foster mf 63. NEW DIRECTIONS - New Note G = tg beats 2 65. ESSENTIAL ELEMENTS QUIZ Bons3 ime Signature Conducting z 3 beats per measure Practice conducting this | & 8 = Quarter note gets one beat three-beat pattern & 66. RHYTHM RAP 1a2e3e 182038 142838 182EFH 142HFH 1HPEZH TA2HATE 1H243E 67. THREE BEAT JAM Tarese 162838 18238 1e2AZe THOPHTe TE2EZH THPEFH TE2aTE 68. BARCAROLLE Moderato Jacques Offenbach nf Norwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suite fora play by Henrik Ibsen in 1875,the year before the telephone was invented by Alexander Graham Bell. “Moming’ is a melody from Peer Gynt Suite. Music used in plays,or in films and television, is called incidental music. ‘AMOLSIH oe (from Peer Gynt) Edvard Grieg P nf Accent d Emphasize the note. 70. ACCENT YOUR TALENT Chop gedit tdiiddiitdrjdsedididives 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 from Latin America continues to influence jazz, classical and popular styles of music, “Chiapanecas"is popular children’s dance and game song. = 3 & 2 Latin American Folk Song 71. MEXICAN CLAPPING SONG (“Chiapanecas”) = ca f = 72. ESSENTIAL CREATIVITY ‘Compose your own music for measures 3 and 4 using this chythm: Ha dnaa ta J =—==5 == Accidental Flat > S Any sharp fat or natural sign which A flat sign lowers the pitch of a note by ahalf-tep. The = appears in the music without being in ote B-flat sounds a half-step below B, and all 8's become the key signature is called an accidental. Bats forthe rest ofthe measure where they occur. 73. HOT MUFFINS - New Note BD Q 8 3 74. COSSACK DANCE Allegro vB - eS f a Se 75. BASIC BLUES - New Note as Fotoppies ta 8m measure BS ete = : 3 ; Bp @= ) 55S Joo | 8 eS + = = L : ee ae = New Key Signature = Ist & 2nd Endings = = ‘This Key Signature indicates the Play through the 1st Ending. Then play the repeated section Key of F — play all B's as B-flats, of music, skipping the 1st Ending and playing the 2nd Ending. 76. HIGH FLYING Moderato i & Japanese folk music actually has its origins in ancient China, "Sakura, Sakura’ was performed on instruments such as £ the koto, a 13-string instrument that is more than 4000 years old, and the shakuhachi or bamboo flute, The unique $= —_sound of this ancient Japanese melody results from the pentatonic (or five-note) sequence used inthis tonal system, 77, SAKURA, SAKURA - Band Arrangement Japanese Folk Song Andante Art.by John Higgins78. UP ON A HOUSETOP ‘Allegro Check Key Signature ss Sr 79. JOLLY OLD ST. NICK - Duet Moderato A . of mf oe ‘See page 9 for additional holiday music, MY DREYDL and JINGLE BELLS. 80. THE BIG AIRSTREAM SSS eee eo ae Franz Lehar 81. WALTZ THEME (THE MERRY WIDOW WALTZ) wf ye ® 82. AIR TIME New Note Fe 83. DOWN BY THE STATION Allegro 2 of 84, ESSENTIAL ELEMENTS QUIZ ig i B of = = 85. ESSENTIAL CREATIVITY Using these notes, improvise your own shythins: ‘1 4 DAILY WARM-UPS WORKOUTS FOR TONE & TECHNIQUE 86. TONE BUILDER Use asteady stream of air. “ = 87. RHYTHM BUILDER 88. TECHNIQUE TRAX z ' A lfm ean a hee inary ney £ Theme and Variations {followed by variations, or altered versions of the theme. 90. VARIATIONS ON A FAMILIAR THEME Theme Variation 1 uf Variation 2 al Fine ‘At the D.C. al Fine play again from the beginning, stopping at Fine (fee nay) . D.C.is the abbreviation for Da Capo, or'to the beginning,” and Fine means the end.” 91, BANANA BOAT SONG Caribbean Folk Songt [A sharp sign raises the pitch of a note by a half-step. The note F-sharp sounds a half-step ‘above F and all Fs become F-charps for the rest of the measure where they occut. Sharp AMOTHL 92. RAZOR’S EDGE - New Note ide SSS SSS 93. THE MUSIC BOX ‘Moderato 010% P art ‘African-American spirituals originated in the 17005, 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. ‘AMOLSIN 94, EZEKIEL SAW THE WHEEL Allegro African-American Spiritual 3 aa 95. SMOOTH OPERATOR —S a> 2 Slur 2notes~ tongue only the first 96. GLIDING ALONG oo Slur 4 notes ~ tongue only the first. Ragtime isan American music style that was popular from the 1890's until he time of World War | This way form of = Janz brought fame to pianists like “Jlly Roll’ Morton andi Scott Joplin, who wrote" The Entertainer” andMaple Leaf g fag” Surprisingly the style was incorporated into some orchestral music by Igor Stravinsky and Claude Debussy. The 3 ‘trombones now learn to play a glissando, a technique used in ragtime and other styles of music. 2g 97. TROMBONE RAG Allegro tf 98. ESSENTIAL ELEMENTS QUIZ ‘Andante Hl D.C. al Fine aad20 99. TAKE THE LEAD Always cover the tone holes completely. 2 Phrase ‘A musical’sentence’ which is often 2 or 4 measures long. Try to play a phrase in one breath. 100. THE COLD WIND r — Phrase: Yr Phrase’ 101. PHRASEOLOGY write in the breath mark(s) between the phrases SSS SS ‘a Be . = New Key Signature Multiple Measure Rest 2 S —_ThisKey Signature The number above the staff tells you = = indicates the Key of - play how many full measures to rest. FE ali’sas F-sharps. ‘Count each measure of rest in sequence: 1-2-3-4 223-4 102. SATIN LATIN Allegro a German composer Johann Sebastian Bach (1685—1750) was part of a large family of famous musicians and an organist, teacher, and a prolific composer, writing more than 600 masterworks. This Minuet, or dance e became the most recognized composer of the Baroque era, Beginning as a choir member, Bach soon became = in 3/4 time, was written as a teaching piece for use with an early form of the piano, 103. ae ~ Duet Johann Sebastian Bach 104, ESSENTIAL CREATIVITY this melody can be played in 3/4 or 4/4, Pencilin either time signature, draw the bar lines and lay. Now erase the bar lines and try the other time signature. Do the phrases sound different? Bt: == SSS : eg e‘AMOSHL Natural 1 Amatural sign cancels a fat (b or sharp and remains in effect forthe entire measure. 105. NATURALLY SSS é as St Art aA ‘Austrian composer Franz Peter Schubert (1797-1828) lived a shorter life than any other great composer, but he ‘teated an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment), ten symphonies, charnber music, operas, choral works and piano pleces. His"™March Militaire” was originally a piano duet. ‘AMOISI 106. MARCH MILITAIRE Franz Schubert ‘Allegro, a 107. THE FLAT ZONE - New Note lg _» a a be! SSS SS Se S e AB 108. ON TOP OF OLD SMOKEY American Folk Song Allegeo aE a Boogie-woogie isa style of the blues, and it was frst recorded by pianist Clarence Pine Top" Smith in 1928, ‘one year after Charles Lindbergh's solo flight across the Atlantic. A form of jazz, blues music features altered notes and is usually written In 12-measure verses, like "Bottom Bass Boogie.” ‘AMOLSIH 109. BOTTOM BASS BOOGIE - Duet Allegro a22 a) Dotted Quarter edo lsat ie aie “< Asingle eighth ‘ Beats the value of the note has 2 fia & Eighth Notes 2 quarter note. or onthestem, a2.e@ 110. RHYTHM RAP lop $+ _ JJ... —_y e@2e se 44 18283 848 Te2eT HER THE2RT ROE 111, THE DOT ALWAYS COUNTS Te 2s 3&8 4e TH 2AF aH TAaZET RHR TR2RR RAE 112, ALL THROUGH THE NIGHT D.C. al Fine # Jeeves tes wee i237 113. SEA CHANTY Always use a full airstream. Moderaia f Inf + —— ee 115. RHYTHM RAP ip EE 4 Ve Ped ase Lares eae Tees EE TED EZ EdD 116, THE TURNAROUND = == + = oe ee ES Ve2esese Tereseee tarazeaa 117, ESSENTIAL ELEMENTS QUIZ - AULD LANG SYNE 2ezseae Scottish Folk Song eee eS