Accent On Achievement

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1. A comprehensive band method
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creativity
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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
T h s n k s t o t h e s t u d e n t s a n d s t a f f o f L i n d e r o C a n y o n M i d d l e S c ho o l a n d 8 a n d D i r e c t o r
M a t t M c K a g a n f o r t h e i r p a r t i c i p a t i o n i n t h e p h o t o g r a p h s o n pa g e s3
a n d 4 .
lesl
Copyright©MCMXCVII Alfred Publishing Co .• Inc.
AII rights reserved. Printed in USA.

2. --
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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
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 thenkey points to the center of
the keys on the middle joint.ZYXWVUTSRQPONMLKJIHGFEDCBA
; 8 4 7
J O I N T
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OETTINO READY
ToPLAY
FLUTE CARE
1. When you are finished playing, take your flute apart
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.
F O O T J O I N T

3. CHECK YOUR
PLAYINO POSITION
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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.

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

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

6. --
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.
TIME SIONATURE
WHOLE NOTE WHOLE REST
4
9
4 beats in each measure
SOLO
4
9
quarter note receives 1 beat
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One person playing
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1&2&3&4&
1&2&3&4&
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D
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F
Receives 4 beats Indicates a whole
~ ~
in! time. measure of silence.
,...
FLAT
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4
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4
b
Lowers theIHGFEDCBA
or
or
or
pitch of a note
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one half step .
FIRST NOTES ANO RESTS
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D
1
o
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I',~
-
I
o
-
I
o
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~
Count:
1 &2&3&4&
1 &2&3&4&
OOINO
Up
,
E~
.r
e
U
'
2
3
[zn
-
-
-
LINES
ANO SPACES
3
,
3
o
-
FIn
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El«'
-
I
o
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WATCH THOSE
RESTS
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F
3
o
I
o
I
o
I
o
~
4
-
-
-
-
Up
ANO
DOWN
~
3
o
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I
O
~1('
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O
~
5 -
-
-
-
Two OF A KINO
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í
O
I
o
~ln
~ln
I
o
I
O
~
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A C C E N T O N L lS T E N I N G
Listen carefully to the soloist, then match the pitch.
,
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7
.
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BAND
SOLO
BAND
SOLO
BAND
SOLO
BAND

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11
Receives 1 beat
int
time.ZYXWVUTSRQPONMLKJIHGFEDCBA
B R E A T H M A R K ,
A suggested place
to take a breath.
D U E T
A composition with
parts for two players.
O U A R T E R N O T E
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))))
NEIOHBORS
o
-
MIX
'EM
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9
,
Also
E~
10 ~
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Count: 1 & 2 & 3 & 4 &
FOUR IN A Row
PASSINO NOTES
TAKE FIVE
THREE-NoTE SAMBA
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Fill in the note names, then fill in the fingerings.
14
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ooolooo(] ooolooo(] ooolooo(]
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8. •
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+,,-,,,
0-
+,,-+,,
0-
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+ + !
or
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; 4 ? 9N O T E H A L F R E S T IHGFEDCBA
*#+#,#-#
Receives 2 beats
int
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MOVIN' ON DOWN
e
1"
o
b """
HOT CROSS BUNS
*#+#,#-#
Receives 2 beats
int
time.
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1 1
1 1
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11
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English Folk Song
AuCLAIRE DE LA LUNE
18~i~-
French Folk Song
JINGLE BELLS
Traditional Carol
-
'
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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

9. QUARTER REST
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01_
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Receives 1 beat
REPEAT SION
6--
inaZYXWVUTSRQPONMLKJIHGFEDCBA
i
andi
time. Play the music again
1
&
.
&
from the beginning.
TIME SIONATURE
ROUND
2
=
2 beats in each measure
Playing the sarne music
06
=
quarter note receives 1 beat
beginning at different times.
HANOCLAPPER'S MARCH
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,
,
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tJ
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Count: 1
IHGFEDCBA#2
# 1
#2
# 1
#2
#
2
ap
;
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~
J
~
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J
J
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4
;~~<~
(-
(-
t
(-
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21
b
BETTER THAN THE REST
Clap first, then play.
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0000 KINO WENCESLAS
Traditional Carol
23~¡~ 'I~ ~ *
n
DONKEY ROUNO
American Folk Song
24~~o;:::=:===
DREYOL. DREYOL
Traditional Hanukkah Song
25 ~
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26~*~~*~ .. ~
For more individual technique practice, see page 42. #1.

10. --
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KEY SIONATURE
t
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VUTSRQPONMLKJIHGFEDCBA
s :
~
~
; ~
Indicates notes which are to bes
~
..
flatted or sharped.AII B's and
s ~
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* + * * *
.
#
~ or ~
E's should be played as B~ and
TIE
~,~"': .•.
_-~
n
throughout.
Joins two notes of
~ [§ I
the same pitch to <:::
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>
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1'-
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1
&
2
&
1
&
2
&
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, 2
b
MARY
ANN
, 3
Jamaican Folk Song
:~
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D n
m e
B r id g e a t A r ig n o n
Name the notes, then play. French Folk Song
31-p'
3

11. HOLlDAY SAMPLER
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--
HGFEDCBA
'
( ( ) 0 5 1 0 2 ) 3 * 1 3 / ' 0 ( )
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Arr. by John O'Reilly
and Mark Williams
Allegro
~e
0
2
[Q]
~~14 ~~16e 17 18~
~~
[E]
Fr_;F=j~20e~~ ~~-
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r
28 30
~.--
iE=:;-~~~
~~r=*IJ

12. --
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4
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# ( 6 ;
: t . . ' . • ' .
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'"""-".,.,"'---_
..
,,,."'---,
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EIGHTH NOTES
~ Receive 1;2beat
~
:~
~
~
t ~
)
L__ ~~,_~~
in!
andi
time.
VARIATlON
Changing the rhythm
or notes of a theme
lEMPO MARKING
to create variety.ZYXWVUTSRQPONMLKJIHGFEDCBA
A n d a n t e
.
&
Moderately slow tempo
~
r.
~_
..
EIOHTH-NoTE EXPRESS
-
Count: 1 &
2 &
3&
4 &
RHVTHM RIDDLE
Clap first, then play.
3 3 V i~
BILE THEM CABBAOE DOWN
34
SURPRISE SVMPHONV
--'''--'",=':._-
THEME
I •
Franz Joseph Haydn
35 ~' -':;
~.'_~i
~~§'~~
HGFEDCBA
' ( ( ) 0 5 1 0 ( 3 ) ' 5 - 7 - 5 8 &
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V a r ia tio R O R L ig h tly R o w
Create your own variation by changing some of the quarter not es into pairs of eighth notes. German Folk Song
36~!i@H ~
~~i
~
,
r
~ r
r
ij
r
r r
f
o

13. INTERNAL REPEAT
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G
11:
:11
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~
Repeat only the music
between the signs.
eeelooo
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. +
IHGFEDCBA
or
•
CLlMBINO HIOHER
G
37
- ~
--------_
...
-
1ST ANO 2ND ENDINOS
2nd
time:skip the first ending and
play the second.
MORE EIOHTH NOTES
LONDON BRIDOE
rouen
Moderato English Folk Song
a
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I
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-
.
-
~
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I
"
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~
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- 3
b
STODOLA PUMPA
Allegro
40
Czech Folk Song
SKIP TO Mv Lou
Moderato American Folk Song
41
*
_1
~:::¡~± 112.
1
~*r*~*"
FIRST CHORALE
Andante
42~~O~O ~ONMLKJIHGFEDCBA
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43
- ~
For more individual technique practice, see page
42. #2.

14. ~ / . ; : . ,
.
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--
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SLUR
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~
"Too" _
Connects notes of
different pitch.
Tongue only the
first note.
DIVISI
d i v .
DOTTED HALF NOTE
Some players play the
~
top notes while others
J
J~j
play the bottom notes.
=
1&2&3& 1&2&3&
A dot following a note increases TIME SIONATURE
its length by1;2
its original value. 3
=
3 beats in each measure
Ini
and!
time. a dotted half
4
=
quarter note receives 1 bea
note receives 3 beats.
SLURS ANO DOTS
44 - ~aZYXWVUTSRQPONMLKJIHGFEDCBA
1 \ I
-
r--....
n∙
~-
~
I
I
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1 \ I
-
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-
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THREE-FoUR DUET
a
45
b
SOUTHERN ROSES
Johann Strauss, Jr.
Moderato
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46•
'
~.
§t
ij'
~~"3t~'
~'
8'1'
ij' ,
,
~
MEXICAN JUMPING BEANS
(Variation onCHIAPANECASl
Allegro
47~~, ª~,~*~
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HGFEDCBA
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ONMLKJIHGFEDCBA
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Mexican Folk Song
Draw the correct bar lines. then play.
48~*~*1~*~

15. NATURAL
KEY SIGNATURE
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I~ "'~ 'zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
Cancels a flat or sharp
~
~
Al! B's should be played,
~
until the next bar line.
as B~ throughout.
I
DYNAMIC MARKINGS
eeeleeo
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. +
aZYXWVUTSRQPONMLKJIHGFEDCBA
f
p
IHGFEDCBA
or
.~
f o r t e - I o u dp i a n o - s o f t
11'-,
Two
WAYS TO PLAY IT
AURA LEE
rouen
Andante
American Folk Song
a
11 ••
VUTSRQPONMLKJIHGFEDCBA
n
'"
_.-.......
•
n
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~
I
I I
11 I I
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.
.
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5 0
b
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
52
HGFEDCBA
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ONMLKJIHGFEDCBA
) ) + 2 7 3 2 ) 5 + ' 7 /9 /7 : &
C a m p to w n R a c e s
Add your own dynamic markings, then perform.
Stephen Foster
(1826-1864)
5 3
b

16. •
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PATTERNS WITH PICK-UPS
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10~I
aZYXWVUTSRQPONMLKJIHGFEDCBA
f
p
f
1 2 3
(1 2 3) 4
FERMATA
1":'\
RITARDANDO
Hold the note longer.ZYXWVUTSRQPONMLKJIHGFEDCBA
r i t o
Gradually slow down the tempo.
PICK-UP NOTES
I~
!(1 2 3) 4
!
Notes that precede the
I
first full measure.
CARNIVAL OF VENICE
Italian Folk Song
55
f
(1 2) 3
1 2
JOLLY OLD STo NICHOLAS
AII
Traditional CarolVUTSRQPONMLKJIHGFEDCBA
5 6 ~ i~ ~ ~
~~~
THE SNAKE CHARMER
Andante
Traditional
5 7
BILL OROCAN'S OOAT
Allegro American Folk Song
58~~" ~"~" ~~n
(1)1;
3 4
ONMLKJIHGFEDCBA
' ) ) + 2 7 3 2 , 0 8 7 +
59V1
f
For more individual technique practice. see page 42. #3 &
4.
I
-~
112.
:lF

17. John
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O'Reilly
and
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Allegro Mark Wil/iams
Él'
I.....-==~
8
~~~ONMLKJIHGFEDCBA
'
HGFEDCBA
( ( ) 0 5 1 0 2 ) 3 * 1 3 / ' 0 ( )
ZYXWVUTSRQPONMLKJIHGFEDCBA
8 4 : ? 8SUMMIT
M A R C HaZYXWVUTSRQPONMLKJIHGFEDCBA
1
~ l1 Y L -; _ _
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1.
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112.
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18. ∙...---"l
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•
•• ~I0004
IHGFEDCBA
or
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)6+**+6
KEY SIONATURE
AII S's, E's and A's
should be played as S~,
E~ and A~ throughout.
ANOTHER NEW NOTE
wi
l ·~
WHEN LOVE
15
KIND
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f
P f
T
•.S N 1••
Johannes Brahms
HEME FROM YMPHONY O.
(1833-1897)
62 *~
f
ALOHA 'OE ..
.~ ¡o y
1 1 .•
VUTSRQPONMLKJIHGFEDCBA
% > '
r
63~
Oueen Lili'uokalani (Hawaii)
(1838-1917)
~D~
*f~ ~
ffi'*?
~
~ nJ7ll ~~~
f ,
MINKA, MINKA
Moderato
Ukrainian Folk Song
f
64
b
f
ONMLKJIHGFEDCBA
' ) ) + 2 7 3 2 7 . + 3 5 :
KEY RINGS: Circle all notes changed by the key signature.
65

19. ACCENT
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA:*zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Play the note stronger.
ORCHESTRATION
Choosing which instruments
playa section of music.
THE KEY MAKES THE DIFFERENCE
22 +~aZYXWVUTSRQPONMLKJIHGFEDCBA
f ...
p
,
.
;
.'
.
JASMINE FLOWER
BLUES AOVENTURE
rouen
11
a"
1
A~~ro
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...~~,¡i.Ii>
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,
1
-
fI
-
>
VUTSRQPONMLKJIHGFEDCBA
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IHGFEDCBA
=
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>
I
I
~ 1
-1
1
1
1 1
>1
f
68
b
a
fI
1 > »- •
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-
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-
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> »
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,
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1
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r i t o
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1
I
¡IIII"\
>
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1
>
>
b
n t .
ONMLKJIHGFEDCBA
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T b ls D ld
M a n
Ch h
f
h I d
American Folk Song
69
f
P
f .
. p f

20. •
1
&
2
&
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SINGLE EIGHTH NOTE ANO EIGHTH REST
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Each receives 1;2 beat in ~
~. ~and !time. ~
EASY EIOHTHS
11.
112.
1
70~~:~
p
aZYXWVUTSRQPONMLKJIHGFEDCBA
f f
POLLY WOLLY DOODLE
Allegro American Folk Song
71Vi .~ HGFEDCBA
pONMLKJIHGFEDCBA
f
P
V+a'D~)~_~D~_'
11
f .;
Moderato>
Wolfgang A. Mozart
(1756-1791)
MARCH FROM ••RONDO ALLA TURCA
Jf
72
f
LA BAMBA
.
Mexican Folk SongIHGFEDCBA
0,
f
> > >
~j~m
A C C E N T O N F L U T E
74~~'~
P
For more individual technique practice, see page
42.#5.

21. +
,wtHt#!M;Ü@@iliuv--~ ..
~~~,..:.e,.:.:..'~c",.~;'•.. ,-,.,. ,- """'-\'-'.,. -,.
-','. ,,'
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
TEMPO
ZYXWVUTSRQPONMLKJIHGFEDCBA
M A R K I N O
V i v a c ezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Very fast tempo
QpPOSITE DIRECTIONS A:
.B~
.r-\
75~'i~*~n~aZYXWVUTSRQPONMLKJIHGFEDCBA
f
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.
>
a
1 \I
• • 1 .
I I I I I
> > >1 >
>
fl.
.
~ > >
>
I I I
»
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f
1 \I
>
> >
> >
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>
>
>
~
I I I I
I
I I
I
I
I
f
79
bHGFEDCBA
' ( ( ) 0 5 1 0 5 , ) 1 3 8
Fill in the note names, then fill in the fingerings .
80
•
~ ~•
~
.~
ooOlIOOOCl ooOlIOOOCl OOOlIOOOCl ooOlIOOOCl ooOlloooCl ooOlIOOOClIHGFEDCBA
)) ))
)) ))
)) ))

22. •
HGFEDCBA
$ $ < <
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAmezzoforte-medium loud
m pmezzopiano-medium softzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
.
ZYXWVUTSRQPONMLKJIHGFEDCBA
M U L T I P L E M E A S U R E R E S T
D V N A M I C M A R K I N O S
,
Count:
1
2 3 4 ;
2
2 3 4
I
81
EXTENDED RESTS
toueti
8 2VUTSRQPONMLKJIHGFEDCBA
+ , 0 + + ,aZYXWVUTSRQPONMLKJIHGFEDCBA
f
23 ;223 m j '
p
f
KOOKABURRA (Round)
Moderato CD
Australian Folk Song
83Vi
m p
Vivace
84'V'ir
m j '
FINALE
FROM
"ORPHEUS" (Can-Can)
Jacques Offenbach
>
(1819-1880)
»
f
m j ' f
ONMLKJIHGFEDCBA
A C C E N r O N C R E A r IV 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 pit ches shown.
'f
i
e
I
fe
I I
e
e
I
e
~
8 5 e
"
1 I

23. GALACTIC EPISODE
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
John O'Reilly and
Mark Williams
HGFEDCBA
'
( ( ) 0 5 1 0 2 ) 3 * 1 3 / ' 0 ( )
AndanteVUTSRQPONMLKJIHGFEDCBA
m p
Allegro
~~-
m f
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
: :
d i v .
^]*_

24. •
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBASTACCATOj
Play the notezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1¡2
its
normal length.VUTSRQPONMLKJIHGFEDCBA
8 7
lONE BUILDER
~ZYXWVUTSRQPONMLKJIHGFEDCBA
+ %
2 0
4
SHORT STORY
2 1
m j '
. ..
WILLlAM TELL OVERTURE
Gioacchino Rossini
88
=p,
ti
~~aZYXWVUTSRQPONMLKJIHGFEDCBA
f
HATIKVAH
Andante . Israeli National Anthem
M~~ I
HGFEDCBA
? <
MINUET
Johann Sebastian Bach
Moderato ~ (1685-1750)
90~1~1~
m p
:~.~ONMLKJIHGFEDCBA
' ) ) + 2 7 3 2 , 0 8 7 +
91~.$~~'*~'$~
m f'
For more individual technique practice. see page 43. #6 &
7.

25. DOTTED OUARTERS
ZYXWVUTSRQPONMLKJIHGFEDCBA
D O T T E D O U A R T E R N O T EzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1&2& 1&2&
In ~ '!
andi
time, a dotted
quarter note receiveszyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
--7.
beats.
..
,,:',")
~
52~~~~VUTSRQPONMLKJIHGFEDCBA
m
Count: 1&
2&
3&
4&
aZYXWVUTSRQPONMLKJIHGFEDCBA
1 \I
n
,..
,.
,..
-
..-
n
,.
.
n
tJ
f
r
I
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. .
.;
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.
>
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.
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.
tJ I I I
.
I I I
.
I I
ANVIL CHORUS from "IL TROVATORE"
rouen
Moderato
a
93
b
f
ALOUETTE
Vivace
Giuseppe Verdi
(1813-1901)
1 1 2 .
d iv . 1
>
French-Canadian Folk Song
SAKURA
95~
Japanese Folk Song
~
m p
~
~
m p r i t o
WEARING OF THE OREEN
Allegro
~
Irish Folk SongIHGFEDCBA
1/
HGFEDCBA
' ( ( ) 0 5 1 0 5 , ) 1 3 8
TAKE A REST: Complete each measure by adding the correct rest , then write in the counting and clap.

26. )(.(
(OAL
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBASEO NO)AL FINE
Go back to the sign ~ and
play untilFine.
lrs
RAINING, IT'S POURINO
Moderato
VUTSRQPONMLKJIHGFEDCBA
"*
T raditionalZYXWVUTSRQPONMLKJIHGFEDCBA
3 3
b
,
m i '
HGFEDCBA
m p
100
ARIRANO
Andante
Korean Folk SongaZYXWVUTSRQPONMLKJIHGFEDCBA
p
m i '
p
101
QOE TO
Jovfrom "SVMPHONV
No. g" Ludwig van Beethoven
f
ONMLKJIHGFEDCBA
A C C E N r D N C R E A r IV lr y :
F r e e I m p r o " i s a t i o n
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
-,.
te0
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.
n

27. TEMPO MARKINO
Largo
D.C. (DA CAPO) AL FINE
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Very slow
Go back to the beginning and
play untilFine.
•
EASY
Do
ESIT
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
-,/~aZYXWVUTSRQPONMLKJIHGFEDCBA
f
112.
:~~. ~VUTSRQPONMLKJIHGFEDCBA
m p m p
THEME FROM "NEW WORLO SYMPHONY"
AntoninDvolák
(1841-1904)
p
106
SONO OF THE VOLOA BOATMEN
Andante . Russian Folk Song
105_~~i~
m p
LIZA JANE
Vivace American Folk Song
~~~
if~∙*~-I
~.*~-~
107
HANSEL ANO ORETEL CHORALE
Engelbert Humperdinck
¡tii
m p ntONMLKJIHGFEDCBA
' ) ) + 2 7 3 2 , 0 8 7 +
. > .
108
f
m p
For more individual technique practico. see page 43.#8.

28. _¿~;'.;~i:,;.~:K';'ij~~. .
~'"~t;.~~"p~.
~,.; .•., _ ,_
_
_
...." ':", ,:1" ,.
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
. - .
.
.
VUTSRQPONMLKJIHGFEDCBA
m j "
Count: 1
&
2
&
•
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
RHYTHM ANTICS
109
1
IHGFEDCBA#2
#
SY.~COPATION
Starting a note
that is one beat
or longer on"&." 1
#2
# 1
#2
#
,
.
LONO TIME
Aoo American Folk Song
Allegro
11.
112.
1
110~i~e 1I
aZYXWVUTSRQPONMLKJIHGFEDCBA
f
m p
11
I
",----..",
7:::.
P.
.
.
-
~
m j '
I
-
1
f
_1
t'"
I
,..
11
I
1
1
2
-
tJ I
r
I I
1
1 •••••
HAlL, THE CONQUERINO HERO
<ouet)
Moderato
a
111
b
m f
112
FOLK FESTIVAL
~
m p f
George F. Handel
(1685-1759)
f
-
p
f
WE WISH
YouA MERRY CHRISTMAS
(Duet)
Vivace
,
I
r : . " ' " ' r..::"".
.,
..
~.-
---
.
tJ
m }
1 1 1
I I
1
1o.ס I
1
11
I
1
I
I
1
tJ I
I
I
1
~ I
a
113
b
m j '
ONMLKJIHGFEDCBA
' ) ) + 2 7 3 2 7 . + 3 5 :
114
Arrange the following tempo markings
in order from slowest to fastest:
Moderato, Allegro. Andante.
Vivace, largo
T raditional Carol
slowest - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - -.. fastest

29. WHEN THE SAINTS
ZYXWVUTSRQPONMLKJIHGFEDCBA
* *
MARCHINC IN
HGFEDCBA
'
ONMLKJIHGFEDCBA
) ) + 2 7 3 2 4 + 5 , 3 5 1 ' 2 ) +
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
/
Arr.
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
by
John
O'Reilly
and Mark Williams
14 ~
~ '6~·""=1
~~- ~~(I _.!
aZYXWVUTSRQPONMLKJIHGFEDCBA
f
~i∙
_i*-
@]
~45 _: . "_""
>
-----'0
> > ,,>
~(í~- .. _
-'.~~O

30. e
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
.00100°cJ
00"
--==========
========--
get louder gradually get softer graduallyponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
CRESCENDO DIMINUENDO
CROSSINC THE BREAK
e
115~'~'_'~
aZYXWVUTSRQPONMLKJIHGFEDCBA
f - -
116
TRUMPET VOLUNTARY
rouen
Moderato
Jeremiah Clarke
(1674-1707)
1 ': \
b
"
I I I
I I
-
.
.
~VUTSRQPONMLKJIHGFEDCBA
m f
i'"
_f
i'"
....,
r i t o
"
I
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I
-
I
.
I
1 ': \
~
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I
I I
m f
f
r it .
dlV.
a
117
118
FINLANDIA
Jean Sibelius
Andante (1865-1957)
<>
IHGFEDCBA
~~~-=~~~==-
"7WD
m p-=:::::::::m f =
m p ====-
pHGFEDCBA
' ( ( ) 0 5 1 0 ( 3 ) ' 5 - 7 - 5 8
Create your own composition containing a balance of unity an d variety.
119~~~~~~~
1. Copy the first two measures into measures 5 and 6 to create u nity.
2. Compose new music for the remaining measures to add variet y. 3. Play your composition.

31. Common Time-same asi
..
"
.•
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
TIME SIGNATURE
ZYXWVUTSRQPONMLKJIHGFEDCBAe
SHEPHERD'S HEY
rouen
AllegroVUTSRQPONMLKJIHGFEDCBA
r = :
English Folk Song
120
BOTANY BAY
ModeratozyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
-.-
~~
-==-m p ~
~*~∙fiF*~HGFEDCBA
m p
Australian Folk Song
REUBEN ANO RACHEL (ROund)
Vivace r:i'\
I T raditional
122
aZYXWVUTSRQPONMLKJIHGFEDCBA
f
AMAZINO ORACE
123
ONMLKJIHGFEDCBA
' ) ) + 2 7 3 2 , 0 8 7 +
~
11
112. 1
124_----':~
For more individual technique practice, see page 43, #9.

32. •
1
IHGFEDCBA#2
# 1
#2
#ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
MORE SVNCOPATION
.sVNCOPATEO RHVTHMS
RUSSIAN SAILORJS DANCE
Moderato
Reinhold GlierezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
&-431*-512'
126~~~~~
~~~@
VE BANKS ANO BRAES OF BONNIE DOON
rouen
Andante 11.
Scottish Folk Song
112.
aZYXWVUTSRQPONMLKJIHGFEDCBA
, #1
\
a
I
ZYXWVUTSRQPONMLKJIHGFEDCBA
\ \ \
••
#?#
\ \ \
••
#..•
:\
VUTSRQPONMLKJIHGFEDCBA
r »
.
.
.
~
I
-=::::::::=
I
====-
I
P
m p
P
p
r i t o
I
I
-....
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I I I
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1:)
~
.~
I
I
I
-
I
I I
--
I
p -=:::::::::=
m p .=====-
p
! : t .
127
b
TOM DOOLEV
~'
American Folk Song
~~~.fi~~
128
ONMLKJIHGFEDCBA
' ) ) + 2 7 3 2 7 . + 3 5 :
Arrange the following dynamics in order from softest to loudest and back: m ¡ f .p .
f ∙ m p ∙
129

33. •
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
,,,-,,,
0-
IHGFEDCBA
)%0$
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
KEY SIONATURE
AII B's, E's, A's and D's should be
played as 8~, E], A~ andm
throughout.
ON
TopOF OLO SMOKY
American Folk Song
~.~~--
~
'7∙~70~r
ZYXWVUTSRQPONMLKJIHGFEDCBA
&
131~∙
~.ij.~.&.~
Peter 1. Tchaikovsky
(1840-1893)
Largo rr
---'1r2I
~e~":~VUTSRQPONMLKJIHGFEDCBA
m p -=:::::::::::
aZYXWVUTSRQPONMLKJIHGFEDCBA
f
:::=:::::::==-
MARCH SLAV
132
LAS MAÑANITAS
Mexican Folk Song
p f ~
p
f
133
POMP ANO CIRCUMSTANCE
Andante
134VIl
r
f
Edward Elgar
(1857-1934)
1,.
11
2.
~~~~r~@ ~~o ~:lf
!Ff
=
For more individual technique practice, see paqe 43, #10.

34. ' ~ ! ~ ~ ; U ( ∙ . ∙ . " . . . : . • . • . . . . . . , . • • . , . . . . . • . . . . . . . ~ • . . •
. • " . • . . . .
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
HUNTERS' CHORUS
from
"DER FREISCHÜTZ"
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Carl Maria von Weber
rn
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
&-342*-4.2'
HGFEDCBA
* . 6 5 ) 4 1 . 1
Allegro
Flute"
I
aZYXWVUTSRQPONMLKJIHGFEDCBA
r - . . ~
.
~ I
m f
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BP E~
,
I
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35. --
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
>
>
I
aZYXWVUTSRQPONMLKJIHGFEDCBA
f 7
~ ~
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o
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ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
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36. --
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
John Philip SousaponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SOUSA SPECTACULAR
(1854-1932)
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JohnO'Reilly
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ALLEGRO
Fast tempo
ANDANTE
Moderately slow tempo
BACH, JOHANN SEBASTIAN
German composer
( 1685-1750)
BAR LINE
Divides the staff into measures
BASS CLEF
en
Also called F clef. The fourth line of
the staff is the note F
BEETHOVEN, LUDWIG VAN
German composer
( 1770-1827)
BILLlNGS, WILLlAM
American composer (1746-1800)
BRAHMS, JOHANNES
German composer (1833-1897)
BREATH MARK (,)
A suggested place to take a breath
CLARKE, JEREMIAH
English composer (1674-1707)
COMMON TIME
(C)Same ast
time signature
CRESCENDO (
-===)
Get louder gradually
D.C. (DA CAPO) AL FINE
Go back to the beginniny
and play until Fine
DIMINUENDO (
===-)
Get softer gradually
DIVISI
Some players play the top notes while others
play the bottom notes
DOUBLE BAR (
11)
The end of a section of music
D.S. (DAL SEGNO) AL FINE
Go back to the sign ~
and play until Fine
DUET
A composition with ~arts for two players
DvoRÁK, ANTONIN
Czech composer (1841-1904)
DVNAMIC MARKINGS
Symbols that indicate loudness
or softness of the music
ELGAR, EDWARD
English composer (1857-1934)
FERMATA
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Hold the note longer
1ST ANO 2ND ENDINGS
Play the 1st ending first time
through, then on the repeat, skip to the 2nd
ending
FLAT (~)
Lowers the pitch of a note one half step
FORTE
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FOSTER, STEPHEN
American composer (1826-1864)
GLlERE, REINHOLD
Russian composer (1875-1956)
GRIEG, EDVARD
Norwegian composer (1843-1907)
HANDEL, GEORGE F.
English composer of German
birth (1685-1759)
HAVDN, FRANZ JOSEPH
Austrian composer
( 1732-1809)
HUMPERDINCK, ENGELBERT
German composer
(1854-1921 )
INTERNAL REPEAT
Repeat only the music between
the signs
KEV SIGNATURE
Indicates notes which are to be
flatted or sharped throughout
LARGO
Very slow
•
LEDGER LINES
Used to extend the staft
LILI'UOKALANI
Hawaiian composer (1838-1917)
MEASURE
The distance between two bar lines
MEZZO FORTE
( m f )Medium loud
MEZZO PIANO
( m p )Medium soft
MODERATO
Medium tempo
MOZART, WOLFGANG A.
Austrian composer
(1756-1791)
MULTIPLE MEASURE REST
Indicates more than one
measure of rest
NATuRAL
(q)
Cancels a flat or sharp until the next
bar line
OFFENBACH, JACOUES
French composer (1819-1880)
ORCHESTRATION
Choosing which instruments playa
section of music
PIANO
( p )Soft
PICK-UP NOTE(s)
Note(s) preceding the first
full measure
REPEAT SIGN
Play the music again from the beginning
RITARDANDO (RITJ
Gradually slow down the tempo
ROSSINI, GIOACCHINO
Italian composer (1792-1868)
ROUND
Playing the same music beginning at
difterent times
SHARP
(#)
Raises the pitch of a note one half step
SIBELlUS, JEAN
Finnish composer (1865-1957)
SLUR
Connects notes of difterent pitch
SOLO
One person playing
SOUSA, JOHN PHILlP
American composer
( 1854-1932)
STACCATO ( .)
Play the note1f2
its normal length
STAFF
5 lines and 4 spaces used for writing music
STRAUSS, JOHANN JR.
Austrian composer
( 1825-1899)
SVNCOPATION
Starting a note that is one beat or longer
on
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TCHAIKOVSKV, PETER
1.
Russian composer
( 1840-1893)
TEMPO MARKINGS
Terms which indicate the speed of
the music
TIE
Joins two notes of the same pitch to make one
long note
TIME SIGNATURE
Indicates how many beats are in each
measure and what kind of note receives one beat
TREBLE CLEF (~)
Also called G clef. The second line .
of the staff is the note G
VARIATION
Changing the rhythm or notes of a theme to
create variety
VERDI, GIUSEPPE
Italian composer (1813-1901)
VIVACE
Very fast tempo

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