Building Blocks for Beginning Band

Transcription

1

2 b larinet ass larinet Table o ontents This ook elongs To: ntroduction The Perect Practice Session eginning Scale Starters oncert lat oncert lat oncert lat oncert Scale ocus Maor Scales oncert lat Long Tone Scale xercises Scale xercises Tister Variations oncert lat Long Tone Scale xercises 0 Scale xercises Tister Variations oncert lat Long Tone Scale xercises Scale xercises Tister Variations oncert Long Tone Scale xercises 0 Scale xercises Tister Variations Scale ocus Minor Scales oncert G Minor oncert Minor oncert Minor oncert Minor Scale ocus hromatic Scales dvanced Warm-s oncets rticulation Studies lexibility xercises xtended lexibility xercises Rhythm xercises Rhythm oncets Timing rills Scales t Glance uilding locks or eginning and ssential xercises and Warm-s or eginning to ntermediate Players Robert W Wilson ev Pr ie oyright 0 by Wilson Publications LL, N Red Lion Terrace, ear, elaare 0 nternational coyright secured ll rights reserved Printed in S WRNNG: The music, text, design, and grahics in this ublication are rotected by coyright la ny dulication is an inringement o S coyright la ntroduction The Perect Practice Session o to se This ook o What to Practice uilding locks or eginning and includes our main sections: eginning Scale Starters, Scale ocus, dvanced Warm-s and oncets and Rhythm oncets t is set u in the our most common maor concert keys that students ill encounter in their irst years o instrumental music: oncert lat, lat, lat, and maor t also incororates the correlating concert minor keys G,,, and as ell as the chromatic scale ertain sections included a bank o articulations that can be integrated into several exercises The ercussion book includes several variations or each exercise, roviding reinorcement o rudiments and essential concets Students and directors can adat uilding locks or eginning and according to individual and ensemble skill needs and ability levels bout the uthor Robert W Wilson is the director o Middle School ands at The William Penn harter School in Philadelhia, Pennsylvania e has over iteen years o combined exerience as a drum line and/or ront ensemble instructor or the West hester niversity Golden Rams, ast Lyme igh School, Sachem igh School, and North Penn igh School Marching ands dditionally, or several consecutive years he as the invited ercussion instructor or West hester niversity s lementary, Middle and igh School Summer Music Workshos e as a member o the oston rusaders rum and ugle ors, arrison ushackers rum and ugle ors, and Reading uccaneers rum and ugle ors here he served as both a member and instructor Presently, Mr Wilson enoys teaching rivate ercussion and oodind lessons out o his home studio in ear, elaare, and regularly erorms ith his azz quintet Mr Wilson has a achelors o Music ducation at West hester niversity, in West hester, Pennsylvania While there, Mr Wilson erormed as a ercussionist in the Percussion nsemble, Symhonic and, and Wind nsemble, and as a saxohonist in the niversity s oncert and e earned his Masters in Music ducation rom Vanderook ollege o Music, in hicago, llinois Mr Wilson ould like to thank his ie, Mary Margaret, or her hel and suort ith this roect Secial thanks also go to his colleagues, eremy Schilling and ayley Varhol, all o his riends and teachers ho rovided advice, ideas, and suggestions, and to all o the students at The William Penn harter School ho atiently tested this book My and irector told me need to ractice What do do? This is a very common question and the anser is easier than most students exect oever, let s anser this question in small chunks t is easier to understand that ay To start, let s igure out hat to do beore you even lay a note y o uilding locks or eginning and is a arm-u and technique book or young instrumentalists There is one book or each instrument and it can be used or rivate instruction, small grou lessons and/or ull ensembles esigned or a beginning instrumental student, it also includes otional high and lo notes or more advanced studies aily use o this book ill hel build a student s tone roduction, technical dexterity, music reading luency and countless other erormance undamentals eore You Practice: Put yoursel in The Practice Zone re you in the right mind rame to ractice? s your television or radio laying? so, then lease turn them o n order or a good ractice session to haen you must be comletely devoted to your instrument and your instrument only ind a nice dedicated lace here you on t disturb others More imortantly, ind a lace here others on t disturb you igure out your goals Start by icking one tiny musical goal or each iece o music you need to ractice Kee in mind that tone quality should alays be a goal lays strive to make the best ossible sound or examle, you can think, OK or this tune ant to ocus on laying every rhythm correctly The next time you ractice that iece you can ick another concet such as ingerings, articulations, dynamics, hrasing or any other musical concet s you become more amiliar ith the music, you can set ne goals or yoursel To hel you do that, ask yoursel hat others exect o you and hat you exect o yoursel or examle, did your band director tell you to ork on a seciic art o the music? re you learning a ne tune or your next lesson? o you have a concert coming u? re you having trouble remembering some ne notes or ne rhythms? s there a cool o tune that YO ant to learn? The list goes on and on o much should ractice? The quick anser is, ractice as oten and as consistently as ossible Remember, in order or anyone to become better at anything they do, dedicated hours o ractice are o utmost imortance o you think the greatest athlete became great by sitting on the couch all day? stablish an amount o ractice time hether it is iteen minutes or orty-ive minutes a day, and stick to it se the recommend times belo to hel you igure out a routine that orks best or you Remember, this is ust a guide lementary School: - minutes a day, or -0 minutes every other day Middle School: -0 minutes a day, or 0-0 minutes every other day igh School: 0- minutes a day What i ust don t have time to ractice? Some days are hard, e all kno you don t have time to ractice on a certain day, then ust ractice ten minutes, or look at the sheet music and sing it in your head on the ride home, go through the ingerings, or send some time buzzing on the mouthiece The oint is, do something everyday guarantee you ll see great results Ok, no WT should ractice? on't measure success by ho much you ractice, but by hat you imrove on in your ractice session ll musicians kno that quality ractice is necessary in order to successully lay an

3 instrument nortunately, many students aste time because they don t ractice eectively on t let that haen to you Let s break don a daily routine into these simle stes: Ste Start ith Long Tones ( minutes) What s a long tone you say? t s easy long tone is simly a long sound Play each note o any scale (maor, minor or chromatic) or, or more, slo counts Long tones hel to arm u the muscles, ust like stretching beore you exercise t is imortant to stay as relaxed as ossible, maintain roer osture, take in a big relaxed breath and roduce a nice ull, unrestricted sound You can do long tones ith a riend and see ho can hold out the note or the longest time Or time yoursel and try to hold it or longer each day t is also a good idea or brass layers to start long tones ith buzzing on the mouthiece you re a brass layer, try laying a simle melody like Mary ad a Little Lamb on the mouthiece There are some good long tone exercises at the beginning o each Scale ocus in this book Ste Scales Such ( minutes) Since most music is based around the notes o a scale, laying scales, areggios, and tister variations are a great ay to ease into the music Get in the habit o checking out the key signature o the iece you are going to lay The key signature is like the instructions or the music t tells you hich notes are shar, lat, or natural Once you kno the key, try laying the scale in hole notes, then hal notes, then quarter notes No get your ingers going and exlore the scale ith some Tister Variations Think o it as a inger and brain arm-u Ste tudes Melodies ( Minutes) Remember hen said that you should ick a seciic goal to ork on each day like rhythm or articulations? Well, laying etudes are great or orking on seciic musical concets n etude (hich means, study in rench) is a iece o music that is rimarily intended or racticing some tye o technique tudes should be racticed reeatedly so that you can choose dierent goals each time hile making the most beautiul sound that you can make ter all, the oint o laying an instrument is to lay melodies and make it sound good lthough it s imortant to ork on scales and technique, don t orget to lay etudes and melodies too nd remember, you don t need to lay everything in one ractice session ocus on making smaller segments sound great Ste Pieces and Reertoire ( 0 Minutes) ter sending all that time and eort on scales, exercises and etudes, no it s time to aly hat you ve learned to your band music When orking on concert music or assigned reertoire, it s best to irst ork on ieces or sections that are diicult you have something that is your absolute avorite and you lay it ell, ork on that one less and make it the last thing you lay as a treat o do kno hen to sto racticing? The quick anser is, never ven roessional musicians ractice every day When you re inished racticing or the day, ick it u here you let o the next day When you ork on something and you kno you ve got it then you can go onto something more challenging Try ne things that may be uncomortable to you Play exercises at aster temos or or longer durations to build u endurance Vary the key signature rom day to day Sometimes it takes several ractice sessions to get something right, sometimes months or years That s erectly accetable as long as you are getting better you re not getting better, you may need to re-evaluate ho much time and dedication you ut into your instrument or revie the above ractice stes to ensure you are racticing eiciently More Practice Tis Kee a ractice ournal Many musicians ind it helul to take notes on their ractice sessions These notes, hen ket in a notebook, are called a ractice ournal y riting don your goals, hat you racticed and hat you should do the next time you ractice, you take the guessork out o racticing Practice ournals hel you kee track o ho you used your time, hat as a struggle and hat as successul You can rite detailed sentences or ust short notes oever you do it, be honest, consistent and thorough Practice or rehearsal/erormance When racticing, try to conduct yoursel in the same ay as i you ere at a rehearsal or erormance or instance, don't sit on your couch and "mess around" ith your instrument Sit u straight ith good osture Try and imitate the ay you are going to look and eel on stage very note you make, out o hatever instrument you lay, should be an attemt to make beautiul music, even ith sight-reading Practice hat you erorm; erorm hat you ractice Practice ith a metronome Listen closely to timing and rhythmic accuracy Start sloer than the erormance temo then as you eel comortable gradually build u seed t is much more eective to lay sloer and emhasize imortant concets and undamentals than to lay ast and lack control on't um into racticing by laying the hardest iece you kno, as ast as you can Warm-u roerly and then start the music at a relaxed temo Previe oy Remember hat you are taught s you lay, think about hat corrections ere given seciically to you in rehearsal Remind yoursel o hat the ocus o each exercise should be e aare o any technique, rhythm, or temo roblems you may have Practice in ront o a mirror Take a look at your embouchure, hands and sticks/mallets You ll be surrised at hat you can ix by yoursel Practice ith one or several others in your section and olitely correct each other s mistakes hances are, i you see one o your riends doing something rong, you may be doing the same exact thing o is your intonation? n other ords, are you laying in tune? e sure to have a tuner ith you during ractice nother great ay to tell i you are laying in tune is to lay along ith the that comes ith some method books The gives you a erect examle o ho you should model your sound V N ach day lay music that you enoy Most eole like to do things that they are good at ut the ay to get good at something is to do it correctly over and over again ractice The hard ork you ut into racticing ill ay o and soon laying an instrument ill be more un than ork eginning Scale Starters oncert b () "Mr Wilson's avorite" Sol a So Good nt ills, Little unny, o o o igger unny,,,,,, o this chord) ravest unny G Neighbors ayley os ulia's irst reggio Stes o this chord)

4 eginning Scale Starters oncert b () "Mr Wilson's avorite" b b b Sol a So Good b nt ills,, Little unny, o o o b,,,,, o this chord) ravest unny b b G Neighbors b b b b ayley os b igger unny b b ulia's irst reggio Stes b b b o this chord) eginning Scale Starters oncert b (b) "Mr Wilson's avorite" bb bb bb Sol a So Good bb nt ills,, Little unny, o o o bb bb igger unny b b b b,,,,, o this chord) Previe oy ravest unny bb bb G Neighbors bb bb ayley os bb bb ulia's irst reggio Stes bb b b b b o this chord)

5 eginning Scale Starters oncert (G) "Mr Wilson's avorite" # # # Sol a So Good # nt ills Little unny, o o o #,,,,,,, o this chord) ravest unny # # G Neighbors # # ayley os # # # igger unny # # ulia's irst reggio Stes # # # o this chord) Scale ocus - oncert b () Long Tone Scale xercises Scale Stes Scale Stes on Pivots Pivots on Previe oy rescendo, iminuendo oncert lat escending G Scale in Whole Notes Scale in al Notes hord Tuning 0 Scale ocus - oncert b () Scale xercises K Scale in "Regular Rhythm" reggio o this chord)

6 G K o To Sol Scale L Maor ntervals M uild'n The Thirds N Tear'n on The Thirds O nd No The Thirds P Scale ocus - oncert b () Tister Variations The olloing articulation otions can be alied to any o the Tister Variations Q on, Let's Go To Ton R on ome gain S You an ave My oughnut T Give Me ack My oughnut Mrs Wilson's ronies V Sassy Sequence W Sassy Sequence Sequel rad's hallenge X Y inish The hallenge Z mily's reggio Workout b Scale Stes b b Scale Stes on b b Pivots b b Pivots on b 0 Scale ocus - oncert b () Long Tone Scale xercises Previe oy

7 rescendo, iminuendo b b b oncert lat escending b G Scale in Whole Notes Scale in al Notes hord Tuning 0 b Scale ocus - oncert b () Scale xercises b b b K Scale in "Regular Rhythm" b b reggio b o this chord) Scale ocus - oncert b () Tister Variations The olloing articulation otions can be alied to any o the Tister Variations G L b M o To Sol Scale Maor ntervals b N uild'n The Thirds b b O Tear'n on The Thirds b b P nd No The Thirds b K Q on, Let's Go To Ton V Sassy Sequence b b b b R on ome gain W Sassy Sequence Sequel b b b b S You an ave My oughnut X rad's hallenge b b b b T Give Me ack My oughnut Y inish The hallenge b Previe oy b b b Mrs Wilson's ronies Z mily's reggio Workout b b b b

8 Scale ocus - oncert b (b) Long Tone Scale xercises Scale Stes b b b b b b Scale Stes on b b b b b b Pivots Pivots on bb bb rescendo, iminuendo b b b b b b b b oncert lat escending G Scale in Whole Notes Scale in al Notes hord Tuning 0 b b Scale ocus - oncert b (b) Scale xercises b b b b bb K Scale in "Regular Rhythm" b b b b reggio bb o this chord) G K L o To Sol Scale bb Previe oy Scale ocus - oncert b (b) Tister Variations The olloing articulation otions can be alied to any o the Tister Variations Q on, Let's Go To Ton bb bb R on ome gain bb M Maor ntervals bb N uild'n The Thirds bb bb O Tear'n on The Thirds bb bb P nd No The Thirds b b bb S You an ave My oughnut bb bb T Give Me ack My oughnut bb bb Mrs Wilson's ronies b b b b

9 V Sassy Sequence b b b b W Sassy Sequence Sequel b b b b Scale ocus - oncert (G) Long Tone Scale xercises Scale Stes # # Scale Stes on # X rad's hallenge b b b b Y inish The hallenge b b bb Z mily's reggio Workout bb bb Previe oy # # Pivots # Pivots on # # 0 rescendo, iminuendo # # # oncert escending # G Scale in Whole Notes Scale in al Notes hord Tuning 0 # Scale ocus - oncert (G) Scale xercises # # # K Scale in "Regular Rhythm" # # reggio # o this chord) Scale ocus - oncert (G) Tister Variations The olloing articulation otions can be alied to any o the Tister Variations G L # M o To Sol Scale Maor ntervals # N uild'n The Thirds # # O Tear'n on The Thirds # # P nd No The Thirds # K

10 Q on, Let's Go To Ton V Sassy Sequence # # # # R on ome gain # # W Sassy Sequence Sequel # # S You an ave My oughnut # # X rad's hallenge # # T Give Me ack My oughnut Y inish The hallenge # # # # Mrs Wilson's ronies # # Z mily's reggio Workout # # Scale ocus - oncert G Minor () Scale xercises Scale in Whole Notes Scale in al Notes Scale in "Regular Rhythm" hord Tuning nd No Minor Thirds G Oicer Schill-og Minor Mirror Time or Three our reggio o this chord) # Scale ocus - oncert G Minor () Tister Variations Previe oy Scale ocus - oncert Minor () Scale xercises Scale in Whole Notes b b Scale in al Notes Scale in "Regular Rhythm" b hord Tuning b b nd No Minor Thirds b G Oicer Schill-og b b Minor Mirror Time or Three our b reggio b # # o this chord) Scale ocus - oncert Minor () Tister Variations

11 Scale ocus - oncert Minor (G) Scale xercises Scale in Whole Notes b b b b Scale in al Notes b b Scale in "Regular Rhythm" hord Tuning reggio b b o this chord) b b # b b Scale ocus - oncert Minor (G) Tister Variations Scale ocus - oncert Minor () Scale xercises Scale in Whole Notes # # Scale in al Notes # Scale in "Regular Rhythm" hord Tuning # # reggio # # # o this chord) Scale ocus - oncert Minor () Tister Variations nd No Minor Thirds b b G Oicer Schill-og bb Minor Mirror bb Time or Three our bb nd No Minor Thirds # G Oicer Schill-og # Minor Mirror # Time or Three our # Scale ocus - hromatic Scales Scale xercises hromatic uilder - Part b b hromatic uilder - Part hromatic uilder - Part b b hromatic Scale in Whole Notes # # # b b hromatic Scale in al Notes # # b # b b b b # 0 # b oncert lat hromatic Scale (Regular Rhythm) # # # b b # # b b b b b # b # b b b b b b b Previe oy G oncert lat hromatic Scale (Regular Rhythm) # # # Three Stes # n # # n # n igh ive # # # # n # # n n # # n # # # n n b # n # # # n # n # # n # # n n # # n n b b b b Scale ocus - hromatic Scales Tister Variations # # n n That razy Trilet Version # # # # # n # # # # # # # n # n # # n # # n n # # n # # n n b b # n # # n b b b 0

12 dvanced Warm-s oncets rticulation Studies dvanced Warm-s oncets lexibility xercises Tenuto - Staccato ccented > > > > > > > > > > > > > > > > > > > Marcato > > > ^ ^ > ^ ^ ^ ^ > > ^ - > > > ^ Slur # Slur # Slur # b b b b # # # b b # # # b b b b b b b b b b b # # # # Slur # b b on b b # # # dvanced Warm-s oncets xtended lexibility xercises # # b b b b b Previe oy Rhythm oncets oncet - Quarter Notes Rhythm oncets oncet - ighth Notes and Quarter Notes ust on G Middle, Lo, igh # b # b b b b b b # b b b b b b b b b b b b b b RS

13 Rhythm oncets oncet - Ties, otted Notes, and al Notes Rhythm oncets oncet - ighth Notes Rests ith Quarter Notes Rhythm oncets oncet - ighth Notes ighth Note Rests Rhythm oncets oncet - Syncoation Rhythm oncets oncet G - otted Quarter Notes G G RS RS G G G G G G Rhythm oncets oncet - Sixteenth Notes Rhythm oncets oncet - Sixteenth Notes ighth Notes Previe oy Rhythm oncets oncet K - Sixteenth Notes ith ighth Quarter Rests K K K K K K K K K Rhythm oncets oncet L - e + (a) L L L L L L L L L L L L L L L Rhythm oncets oncet M - (e) + a M M M RS RS

14 M M M M M M M M M M M M N N Rhythm oncets oncet N - Sixteenths N N N N N N N Rhythm oncets oncet P - () e + a P P P P P P Rhythm oncets oncet Q - () e (+) a Q Q Q Rhythm oncets oncet R - e (+) a R R R R R R R Previe oy R R Rhythm oncets oncet S - (e) (+) a S S S S S S S S S Rhythm oncets oncet T - ighth Note Trilets T T T T T T RS RS 0 T T T T T T Rhythm oncets oncet - Sixteenth Note Trilets Rhythm oncets oncet V - ut Time V V V Rhythm oncets oncet W - / W W W W W W W W W W W W W W W W W W W0 W W V V V V V V V V W W W W W W W W W0 RS RS

15 Rhythm oncets Timing rills dd n ighth dd Scale egree Tricky og Startin' rom The ack Move The ighth On Over Previe oy Scales at a Glance ll Maor Scales Scales at a Glance Minor Scales (Relative to the maor keys correlated in this book) oncert b Maor ( Maor) b oncert b bb b Maor (b Maor) oncert bb b b Maor b (b Maor) oncert b Maor ( Maor) oncert # Maor ( Maor) # oncert b Maor (b Maor) bb bb b b oncert Gb Maor (b Maor) oncert bb b b Maor (Gb b b Maor) oncert Maor (G Maor) # # # # oncert G Maor ( Maor) oncert armonic Minor () oncert Natural Minor () # oncert Melodic Minor () # # # # # # n n oncert G armonic Minor () oncert G Natural Minor () oncert G Melodic Minor () # # # # n n oncert Natural Minor () b oncert # # # Maor ( Maor) oncert # # # # Maor # # ( Maor) hromatic Scales oncert b hromatic () # # # oncert b hromatic () # # # # # b b # # b b b b b b b b oncert armonic Minor () oncert Melodic Minor () b # # b n # n b oncert armonic Minor (G) b b # oncert Natural Minor (G) bb # oncert Melodic Minor (G) b b n # n b

16