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% REFERENCE INDEX Definitions (p.) Accent 15 Accidental 16 Allegro 11 Andante 11 Arpeggio 28 Bass Clef 5 (Bass cleinst) BarLines 3 Beat 4 Blues 21 Breath Mark 6 Chord 28 Chromatic Notes 33 Chromatic Scale 33 Common Time 26 Crescendo 11 Dc.alFine 18 Decrescendo 11 Diminuendo 11 DottedHalfNote 14. Dotted Quarter Note 22 Double Bar 5 Duet 7 Dynamics 9 Eighth Note “10 Eighth Rest 31 Embouchure 2. (Brass @ Ws) Enharmonics 33 Fermata 8 Ist& 2nd Endings 16 Flat 5 Forte (f) 9 Glissando 19. (Trombone) HalfNote 6 Halfstep 33 Harmony 8 Interval 24 Key Signature 7 largo 23 LedgerLines 3 Measure 3 Mezzo Forte (wf) 9 Moderato 11 Multiple Measure Rest 20 Music Staff 3 Natural Sign 5 Notes 4 Phrase 20 Piano (p) 9 Pick-Up Notes 9 Quarter Note 4 Ragtime 19 Repeat Sign 5,26 Rests 4,6,7,31 Round (Canon) 12 Seale 28 -— soos! 54 B44 G2 t FRRNANDAPOLIS — SF, Slur 19 Soli 29 Solo 23,38 Tempo 11 ‘Theme And Variations 18 Tie 14 Time Signature 5 Treble Clef $ (Trebleciefinst.) Tio 35 WholeNote 7 Composers JOHANN SEBASTIAN BACH Chorale (from Cantata 147) 18 + Chorale 30 Minuet 20 Minuet 31 LUDWIG VAN BEETHOVEN (Ode To Joy (fram Sym.No.9) 13 Theme From Symphony No.? 34 JOHANNES BRAHMS + Theme From Sym.No.1 38 (Brass 8 Low Ww) ANTONIN DVORAK + Theme From*New World Sym." 23 STEPHEN COLLINS FOSTER Camptown Races 14 Oh,Susanna 10 EDVARD GRIEG + Morning (from Peer Gynt) 15 FRANZ JOSEF HAYDN + Theme From"Surprise Symphony” 28 FRANZ LEHAR + WaltzTheme 17 WOLFGANG AMADEUS MOZART AMozart Melody 8 + Eine Kleine Nachtmusik 38 (igh wes) JACQUES OFFENBACH Barcarolle 15 GIOACCHINO ROSSINI + william Tell 10 CAMILLE SAINT-SAENS Egyptian Dance 34 FRANZ SCHUBERT + March Militaire 21 JEAN SIBELIUS + Finlandia 26 JOHN PHILIP SOUSA + ElCapitan 32 High School Cadets 11 PETER ILLYICH TCHAIKOVSKY * Capriccioitalien 35 Slav 33 yaoi aay Z 6901 A petdoverure 7 World Music AFRICAN + Kum Bah Yah 25 ‘AMERICAN + American Patrol 35 + America The Beautiful 36 + Auralee 12 + Ezekiel Saw The Wheel 19 + GoTell Aunt Rhodie 6 Michael Row The Boat Ashore 26 On Top OF Old Smokey 21 + SkipTo My tou 10 Swing Low, Sweet Chariot 39 + The Streets Of Laredo 28 + Wayfaring Stranger 35 + When The Saints Go Marching In 13,27 AUSTRALIAN + Botany Bay 26 AUSTRIAN, ‘Austrian Waltz 26 CANADIAN Alouette 14 OCanada 32 CARIBBEAN + Banana Boat Song 18 CHINESE + Silver Moon Boat 34 ENGLISH London Bridge + Scarborough Fair 22 + SeaChanty 22 FRENCH ‘Au Claire DeLaLune 6 Frere Jacques 12 GERMAN German Folk Song 27 ISRAELI Hatikva 30 FTAUIAN Carnival Of Venice 29 JAPANESE + Sakura,Sakura 16 i MEXICAN, Chiapanecas 15, LaBamba 39 + LaCucaracha 36 SCOTTISH ‘Auld Lang Syne 22 TRADITIONAL HOLIDAY MUSIC Jingle Bells 9 Jolly Old St.Nick 17 + MyDreydl 9 + UpOnAHousetop 17 ci Db P 00 1000 Penvannorotis — 5. Di ED ol Gt Ab er 900 1000 pe 900 r0e0 47 a FINGERING CHART Instrument Care Reminders Before putting your instrument back ints case after playing, do the following + Use the water key to empty water from the instrument. Blow air through it. f your horn daes not have a water key, invert the instrument. You may also remove the ‘main tuning slide, invert the instrument and remove excess water, + Wipe the instrument off witha clean soft cloth, Return the instrument to its case. + Remove the mouthpiece. Once a week,wash the ‘mouthpiece with warm tap water. Dry thoroughly. Be sure to grease the slides regularly. Your director will recommend special slide grease and valve ol, and will help you apply them when necessary. CAUTION: Ifa slide, a valve or your mouthpiece becomes stuck, ask for help from your band director ‘or music dealer. Special tools should be used to prevent damage to your instrument. Using the Correct Fingering F Hom players + Use the upper fingerings. Double Horn players F HORN Open Pressed down Sondanoriesees oun nelson + Use the lower'T” fingerings when indicated. It is easier to play notes in the upper and extrerne lower register of the horn using these fingerings. Bs Horn players: * Use the lower fingerings. The "T"key is only used on double horns. - Fi Gb eC, 229, Oo B84 G27 /ebol 12 CORPORECAD cap, 15.600-000 ' 000 200 L "You can markyour progress though the book on thi page 45 Fillin the stars as instructed by your band director. a 6 1 26 z 2s e 4 24 ESSENTIAL ; 23 2 a STAR ACHIEVER ’ 20 a NAME. 19 : 9 (a4de2i/vuel-t2 18 > ssmgAc .USICAL ue FeRNANUO-CLL 10 a cor. seams n ie omens = he 15 aw 1. Page 2-3, The Basics 15, Page 22, EE Quiz, No.117 2. Page 5, EE Quiz,No.13 16. Page 23, Performance Spotlight 3, Page 6, EE Quiz, No.19 17. Page 24,EE Quiz, No, 125 4, Page 7,€E Quiz, No.26 18, Page 26, Essential Creativity, No. 137 5. Page 8, EE Quiz, No.32 19, Page 28,No. 149 6, Page 10,£E Quiz, No.45 20. Page 28, EE Quiz, No. 151 7. Page 12-13,Performance Spotlight 21. Page 29, Performance Spotlight 8. Page 14,€E Quiz,No.65 22. Page 31, EE Quiz, No. 164 9. Page 15,Essential reativity,No.72 «23, Page 32,8E Quiz, No. 168 10. Page 17, € Quiz, No.84 24, Page 33,No.174 11, Page 17, Essential Creativity, No.85 25, Page 35, EE Quiz,No. 181 12. Page 19,EE Quiz, No.98 26. Page 36, Performance Spotlight 13. Page 20,Essential Creativity,No.104 27. Page 37, Performance Spotlight 14. Page 21,No.109 28, Page 38, Performance Spotlight MUSIC — AN ESSENTIAL ELEMENT OF LIFE CREATING MUSIC Composition isthe art of writing original music. A composer often begins by creating a melody 11 ade up of individual phrases, ike short musical"sentences.” Some melodies have phrases that seem to answer or respond to “question’ phrases, as in Beethover's Ode To Jay. Play this melody and listen to how phrases 2 and 4 give slightly different answers to the same question (phrases 1 and 3). Compos THEORY 1. ODE TO JOY Ludwig van Beethoven 1.Question 3.Question 4 Answer 2Answer 2. Q. AND A. write your own “answer” phrases in this melody. gb Question 2Answer = z 3.0ueston SS 3. PHRASE BUILDERS Write 4 different phrases using the shythes below each staff dig 1.644 ITTji) 1 3 4. YOU NAME IT: Fick phrase A, B,C. or D from above, and writ it as the “Question” for phrases 1 and 3 below. Then waite 2 different Answers*Tor phvases 2 and 4 “p__tavesion Answer .aueston svar z = 4g _ Improvisation the ar of reel creating your own 2 Improvisation — ineody os you ploy Use these notes to ply your oun z melody (Lie A to go withthe accompanivent (Ine 5. INSTANT MELODY Al “tasanar/oeat-t2 USICAL DE FERNANDOFOLIS begravaerrere cue. 15.00-008 % RHYTHM STUDIES 4 AOL ou} pt ead ant /anut-12 ~ Tomo) pe dy TL, fy aby aby by TTI by by dy dy Sd fr DL Dy de de dy TI, by thy by dy (0), DID A ADO Anh Nb pd jp dk ty ad hd yo oh 4dr d jot si pe I 4 djat 4 fh, dk, eh { az Z RHYTHM STUDIES Hots p tis, got fe ds | gl oy id te dd 4—1 poo, om oto, 4 po Wd | Hl) niin, si ny 1 #1 oy in 4 Od i4 add pod re Ol jy te 4 51 aaa e27/ east ‘ COPS TOT _ * 81844 827/u001-427 SORPORSCAD..USICAL LE FERMAAWOFCLIS ee ee RUBANK’ Sener AND ARPEGGIO STUDIES. HORN KEY OF € (CONCERT F) in this key signature play ll notes natural 1. 2. SSeS = == 2a a Se | J RUBANK’ SCALE AND ARPEGGIO STUDIES HORN KEY OF F (CONCERT Bb) in hiskeysignawre play allo. ote ae — gerep ee HORN KEY OF Bi (CONCERT Eb) in thiskey signoture play all's and Es 1. SSS SSS SS Vs g4sg2i/coet 42 nd = IRPORAGAO DUETS — Here is an opportunity to get together with aTriend and enjoy playing musié: The othgr player does not have to play the same instrument a you Ty to exactly match each others thythm, pitch and tone quality. Eventual it may begin to sound like the two parts are being played by one person! Later, try switching parts. OW, SWEET CHARIOT - Duet Aftican-American Spiritual S| PERFORMANCE SPOTLIGHT 185. THEME FROM SYMPHONY NO. 1 - Solo (: Allegro CORPORAGAD MUSICAL GE FeRiAN.O *CLIS eee page g27 (20 CORPORACAD :.USICAL =F. PERFORMANCE SPOTLIGHT” " 184, THEME FROM 1812 OVERTURE - Band Arrangement Peter llyich Tchaikovsky Se ‘er.by John Higgins S va W PERFORMANCE SPOTLIGHT 182. AMERICA THE BEAUTIFUL - Band Arrangement ve Faas Ss a === f 183. LA CUCARACHA - Band Arrangement Latin American Folk Song yy John Higgins /ooit-12 = MANAGTCLIS 51944927 0 Pon CAD Russian composer Peter llyich Tchaikovsky (1840-1893) wrote six symphonies and hundreds of other works including The Nutcracker ballet. He wast mastef 8/Miniydeiiant settings of folk music, and his original melodies are among the ‘most popular of alltime. His 1812 Overture and Capriccio ltiléh were bgth written in 1880, the year after Thomas Edison developed the practical electric light bulb ‘AMOLSIH 178. CAPRICCIO ITALIEN Always check the key signarure, Peter llvich Tchaikovsky Allegro oe 179, AMERICAN PATROL Atle 180. WAYFARING STRANGER African-American Spiritual Andante Ee E ae — ae 2: F 181, ESSENTIAL ELEMENTS QUIZ - SCALE COUNTING CONQUEST y ¥ French composer Camille Saint-Saéns (1835-1921) wrote music fr virtually every medium: operas suites, symphonies and chamber works. The "Egyptian Dance" is one of the main themes from his famous opera ‘Samson et Delilah. The opera was written in the same year that Thomas Edison invented the phonograph —1877. HISTORY 175. EGYPTIAN DANCE Watch for enharmonies. Allegro a iP ee —— ie Camille Saint-Saéns 176, SILVER MOON BOAT Large German composer Ludwig van Beethoven (1770-1827) is considered to be one of the world’s greatest composers, despite becoming completely deaf in 1802. Although he could not hear his music the way we can, he could"hear"t in his mind, Asa testament to his greatness, his Symphony No.9 (p. 13) was performed as the finale tothe ceremony celebrating the reunification of Germany in 1990. This is the theme from his Symphony No. 7, second moverent. HISTORY 177. THEME FROM SYMPHONY NO. 7 - Duet Ludwig van Beethoven Allegro (moderately fast) Al 51844827 /unat497 _ cone, 33 Ce t.640.800 land db Gland Ab Enharmonics Lo remsneens a i Two noes that are weten diferent but sound Ona pian eyooar eh z thetame nd played with the same fingering) are lat key bath Ret and 3 called enharmonics, Your fingering chart on pages a sharp: 2 ‘6-7 shows the ngerings forthe enarmonc notes on your iste A 169. SNAKE CHARMER: Enharmonic notes use the same fingering. 7 | D/ct & —— $ bo aan ote Home am aa tem TC Double Hom Payers the thumb ey andusetheB Hora gern forthe upper O/C pete 4 Pick-up nore ~ 171, CLOSE ENCOUNTERS Enharmonic notes use the same fingering. B/E Ge sate Shen TOS oer 172, MARCH SLAV eter llyich Tchaikovsky Sea i Chromatic notes ae altered with sharps fat and natural sign which are not inthe z Chromatic key signature, The smallest distance between two notes isa half-step, and a scale made 3 Notes upofconsecutve haste called achromatic scale 3 174, HALF-STEPPIN’ 32 165. DANCING MELODY - New Note D = ers = ts Fim O@ 30h Brome TOW Double Hor iyersodd the thumb heyonduse the Horn ingeting forthe upper Dk ‘American composer and conductor John Philip Sousa (1854-1932) wrote 136 marches. Known as"The March King,” ‘Sousa wrote The Stars And Stripes Forever, Semper Fidelis, The Washington Past and many other patriotic works. Sousa’ band performed all over the country, and his fame helped boost the populatity of bands in America. Here is a melody from his famous EI Copitan operetta and march, HISTORY 166. EL CAPITAN John Philip Sousa "0 Canada," formerly known as the National Song," was first 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 Canada until 1980, one hundred years after its premiere. 167, O CANADA Calixa Lavallee, "Hon, Judge Routhier “Mastaso (Majestialty ‘rd disfoe FS Weir 168. ESSENTIAL ELEMENTS QUIZ - METER MANIA. Countand-lop before playing. Can you conduct this? AL Z Saas cosponechs SICAL UE FEAR. cL Feevanarous — sp. ! 21 844827/ctet te "A Usica 1 reno = ay TH TH Eighth Note od) = szbeatotsound & Eighth Rest Te svavestotsionce dads rdrd Tene ee 158. RHYTHM RAP cap a orae2re 159. EIGHTH NOTE MARCH FDA, ibs dy (dS ddd y Johann Sebastian Bach SSE SS = ==] 161. RHYTHM RAP TES OFF THE BEAT fd dund site ode dtd dd dts dt 41 deresane ede ze sees Terese == 2 saan 163. EIGHTH NOTE SCRAMBLE ee 3 SS] SESE = = = rd SOD eG Ge 164, ESSENTIAL ELEMENTS QUIZ — B Bion Sapa 30 7 DAILY WARM-UPS ionours con ronea recimove 154. RANGE AND FLEXIBILITY BUILDER 156. CHORALE ‘The traditional Hebrew melody *Hatikvah"has been Israe!’s national anthem since the nation’s inception, {At the Declaration of State in 1948, it was sung by the gathered assembly during the opening ceremony and played by members ofthe Palestine Symphony Orchestra at Its conclusion. HISTORY 157. HATIKVAH Israeli National Anthem Andante Pas v “sfeatez7ieuti2 | LL Femmannorouis — 5.7. i a ganar /e ‘SORPORECK Z 8 FEANANGOPELIS 29 PERFORMANCE SPOTLIGHT 152, SCHOOL SPIRIT - Band Arrangement wr. Purdy March Style 1 Measure Huber Arby John Higgins 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 Arrby John Higgins end Soli A scale is a sequence of notes in ascending or descending order. Like a musical"ladder, each Scale step isthe next consecutive note in the key. This scale isin your Key ofF (one flat, so the top. {and bottom notes are both Fs. The interval between the Fs isan octave. THEORY & 147. CONCERT B+ SCALE (Horn ~ F SCALE) 1 oxtove scale ie 203 8 5 @ 9 ° J | = 3. + a Chord & When twoor more notes are played together they frm a chord or harmony, This F chords H_builtfrom the Ist 3c and sth steps ofthe F scale. The 6th step isthe same asthe 1 butt isan Arpeggio ccavehisher An arpeggiois a"broken’ chord whose notes are layed indie THEORY 148. IN HARMONY Divide the notes ofthe chords between band members and ploy together. Does the erpeggio sound ikea chord? r—— Arpeagio I—— Aepeggia Chord roa os 3 Chord 3 2 a 149. SCALE AND ARPEGGIO SSS a ad iz Austrian composer Franz Josef Haydn (1732-1809) wrote 104 symphonies, Many of these works had nicknames ‘S and included brilliant, unique effects for their time, His Symphony No, 94 was named "The 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” Andante Franz Josef Haydn BSS 7 151, ESSENTIAL ELEMENTS QUIZ - THE STREETS OF LAREDO ‘American Folk Song Write in the note names before you play. —————— at 12 CO-PORECAO MUSICAL UE FERANGOFCLIS seuasog see] 12 7 COMPORECAD USL oe Ratan oy eee mr, tsetse 27 L. rensanorous — s.r. a 138. EASY GORILLA JUMPS 139. TECHNIQUE TRAX Always check the key signature. SS SS a 140. MORE TECHNIQUE TRAX oe James Black and Katherine Purvis es | SS] o ve o 146, FULL COVERAGE oer 26 Repeat Signs a SESS = 133. AUSTRIAN WALTZ tf 134. BOTANY BAY Allegso ~~ aR SS = f ‘tt © Time Signature Conducting ‘orator IM Practice conducting Sam Cameoshp Metre, THEORY 135. TECHNIQUE TRAX Prac fom IJ J leold. SI inge the rhythm of any measure 126. GRENADILLA GORILLA JUMP No. 4 ‘yh edss27/vd0t-12 ! 25 PemeaNDoregt — 130. CROSSING OVER Trio 131, KUM BAH YAH = Trio Always check the key signature. wlerato ‘Atrio Is a composition with three parts played together. Practice this tlo with two other players and listen for the 3-part harmony. SSE5 ar 24 SPECIAL HORN EXERCISE - Lip Slurs Lip Slurs are notes that are slurred without changing valves. Brass players practice these to develop a stfonger airstream and embouchute, and to increase range. Add this pattern to your daily Warm-Ups: == —F — wa Fhe OOD 2000 Great musicians give encouragement to fellow performers. On this page, clarnetists learn their instruments’ upper ‘register in the “Grenadilla Goailla Jumps” (named afte the grenaalilla wood used to make clarinets. Brass players earn lip slurs, a new warm-up pattern. The success of your band depends on everyone's effort and encouragement. 119. GRENADILLA GORILLA JUMP No. 1 SS So aE 120. JUMPIN’ UP AND DOWN b = ST ate " 123. GRENADILLA GORILLA JUMP No. 3 CF —S Ss 124, JUMPIN’ JACKS ere Ce ‘The distance between two pitches is an interval. Starting with" on the lower note, count each line Interval sna space between the notes. The number ofthe higher notes the dtrce of the nto & 2nd— 3rd — 4th: 1 Sth: 1 6th: 7th — Octave 1 s z= o | = oe = oe a 8 a z a Oo Fo7 Co?” oF oF oO oF? 125. ESSENTIAL ELEMENTS QUIZ Write in the numbers of the intervals, counting up from the lower notes. Bde Ah = A= Faris coupoRsgA 1 imervis: 2nd oan 2 ANOSCLIS FERNANnOPOLIS = <> ' “58 curronngas PERFORMANCE SPOTLIGHT" ~*~ ‘You can perform this solo with or without a plano accompanist. Pay it forthe band, the schoo or Solo with Piano —_yourfamiy tis part of Symphony No.9 (“From The New World”) by Czech composer Antonin Accompaniment Dvorak 1841-1904), He wnat ie while visting America in 1893,and was inspired to include melodies from American folksongs and spirtuals,Thisis the Largo (or"verysiow tempo") theme 23 118. THEME FROM “NEW WORLD SYMPHONY” Antonin Dvorak 22 Dotted Quarter Adot adds half + } = Asingle eighth &Eighth Notes J-—e sean Besestie JOS) ST acthans 110, RHYTHM RAP FU yy td ky Varese ee tare se ee Terese ee THD H EE aD 111, THE DOT ALWAYS COUNTS 113. SEA CHANTY Always use a full airstream. English Folk Song Moderate i ope a 114, SCARBOROUGH FAIR English Folk Song mf 115. RHYTHM RAP fal J J ri bb fees) mee) ole weet etal tis atl ea) cee sea Otel at ct ciees is eal) 116, THE TURNAROUND Peres e ae Terese ee teresa see tereaeae 117, ESSENTIAL ELEMENTS QUIZ - AULD LANG SYNE Aj a Scottish Folk Song Lire 1 = of °, check yeh — CO PORSGAD:: USISAL tun /O°%UE LL enmanoorous — sy st 9409276 2 105. NATURALLY : L SS ‘Austrian composer Franz Peter Schubert (1797-1828) lived a shorter life than any other great composer, but he created an incredible amount of music: more than 600 art-songs (concert music for volce and accompaniment), ten symphonies, chamber music, operas, choral works and piano pieces. His"March Militaire" was originally a piano duet, _privarsnoeny ‘AMOLSIH 106. MARCH MILITAIRE Alege uy aie oy 107. THE FLAT ZONE ~ New Note SS SS - SS SSS Franz Schubert E 108. ON TOP OF OLD SMOKEY ‘American Folk Song o Boogie-woogie is a style ofthe blues, and it was first 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, ike "Bottom Bass Boogie,” ‘AMOLSIH 109. BOTTOM BASS BOOGIE - Duet 20 99. TAKE THE LEAD - New Note (Optional) 18 ee bide) Fem? OOO Bon TOSS Double am Players: thumb key and use the Bom tngerng Seepage tify wish io review the fingering orlow Enourat Phrase ‘A musical “sentence” which is often 2 or 4 measures long, Try to play a phrase in one breath. ‘THEORY 100. THE COLD WIND r = aS P 101. PHRASEOLOGY Write inthe breath marks) between the phrases bef P f = New Key Signature Multiple Measure Rest 2 thiskey Signature The number above the staf tls you — indicates the ey of how many full measures to rest. 7 Fino sharps or fats Counteach measureofrestinsequenee: “G5yq Rasa 4 102. SATIN LATIN ‘Allegro B__ German composer Johann Sebastian Bach (1685-1750) was part ofa large family of famous musicians and became the most recognized composer of the Baroque era, Beginning asa choi member ach soon became —_anorganist a teacher and a polite composer, writing more than 600 masterwork, This Minuet, or dance in Byam, as witten as a teaching pece fr use with an early form ofthe piano. 103. MINUET - Duet Johann Sebastian Bach peel : ae = 104, ESSENTIAL CREATIVITY | this melody can be played in 3/4 or 4/4. Pencil in either time signature, draw the bar lines and bi Zs SRAPOREGAS “UsicaL UE FERWANZOPCLIS LL Femnanporotis — ar, } 3 AnaturlsighZancelsa Nt or sharp and emanate est of the measure Natural = 4 ANOTHL 92. RAZOR'S EDGE - New Note Tr Sto TOMO Double Ho Peyer: edt thum key and use he Hom ageing forthe upper 8 notre 93. THE MUSIC BOX Moderato African-American spirituals originated in the 1700's, midway through the period of slavery in the United States, One of the 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 spirituals was published in 1867, four years after ‘The Emancipation Proclamation was signed into law. ‘AMOLSIH Arican-American Spiritual —. 2 Slur2 notes ~ tongue only the fs. 96. GLIDING ALONG oH 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 “Jelly Rol” Morton and Scott Joplin, who wrote "The Entertainer" and"Maple Leaf Rag” g Surprisingly, the style was incorporated into some orchestral music by Igor Stravinsky and Claude Debussy. s ‘The trombones now learn to play a glissando,a technique used in ragtime and other styles of musi. & | | if 4 Slur4 notes tongueonly the st. 97. TROMBONE RAG 18 7m ZB DAILY WARM-UPS _soscouss rox vones recumtoue 86. TONE BUILDER Used steady steam of air. 87. RHYTHM BUILDER = aay vedas 88, TECHNIQUE TRAX ‘A musical form featuring a theme, or primary melody, Theme and Variations followed by variations, or altered versions ofthe theme, THEORY 90. VARIATIONS ON A FAMILIAR THEME Variation 1 oe ete 4 Variation 2 Se ‘ ‘At the D.C.al Fine play again from the beginning, stopping at Fine (fee nay). 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 f of 7 78. UP ON A HOUSETOP Allegro , i B i 3 check f° ey Signature See page 9 for additional holiday music, MY DREYDL and JINGLE BELLS. 80, THE BIG AIRSTREAM - New Note (Optional) iG ta 1 Bom TOOO Double om Playes:oall the chum key andusethe Hom fingering Moderate en ca _ 81. WALTZ THEME (THE MERRY WIDOW WALTZ) 3. DOWN BY THE STATION Alege ed SS 84. esceNTIAL ELEMENTS QUIZ Za | z Accidental Flat b Any sharp, flat or natural sign which A la sign lowers the pitch ofa note by ahalfstep, The = appears in the music without being in note E-flat sounds a half-step below E, and all F's become “ the key signature is called an accidental. Erflats for the rest of the measure where they occur. 73. HOT MUFFINS - New Note 1 Flax applies (0 ol in meczure a EB a= Fert OO 74, COSSACK DANCE Allegro Ro z . : S New Key Signature Ist & 2nd Endings = === FE —_tiskey signature inccats the Key of B- Play through the 1s Ending, Then pay the epested section play a 8s as B fats ond all E35 fats of mie skipping the Ist Ending and playing the 2nd Ending, 76, HIGH FLYING 1h pa Moterate Ee z “< oe and time = = Japanese folk music actually has its origins in ancient China, “Sakura, Sakura’ was performed on instruments such as 2 the koto, 13-string instrument that is more than 4000 years old, and the shakuhachi or bamboo flute. The unique 2 sound of this ancient Japanese melody results from the pentatonic (oF five-note) sequence used in this tonal system. 77. SAKURA, SAKURA - Band Arrangement Japanese Folk Song ‘Arrby John Hig Andante 249. i a ° =—— F Tse gaage7 ite coneer 1 RRRWANDAPOLIS — 8. Ps 1 (GAD wUSICAL JE FERMANGOSCLIS 15 AMOTHL 3 Time Signature Conducting = Quarter note gets one beat three beat pater 66. RHYTHM RAP Fly Sd VO23e 1a2Hde Terese THPeTe Teed Terese THZETe TA2EZE ~67. THREE BEAT JAM oy 68. BARCAROLLE oe Jacques Offenbach Norwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suite for a play by Henrik Ibsen in 1875, the year z before the telephone was invented by Alexander Graham Bell. “Morning"is a melody from Peer Gynt Sute. Music 2 used in plays orin films and television is called incidental music. 2 39. MORNING (from Peer Gynt) Andante — Accent J emphasze hence 70. ACCENT YOUR TALENT # dddpdlidd deg Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures, Ths diverse. = ‘music features lively accompaniments by drums and other percussion instruments such as maracas and claves. g ‘Music from Latin America continues to influence jazz, classical and popular styles of music. ‘Chiapanecas”is a g popular children’s dance and game song, & MEXICAN CLAPPING SONG (“ anecas”) Latin American Folk Song vy es -72. ESSENTIAL CREATIVITY Compose your own music for measures 3 and 4 using this shythm: > Joi S771 J = 2Beats ee Tl eg eset s 4 etidd4difo4 59. FIT TO BE TIED ee a Dotted Half Note ae es eat da por d Tazaae Adot odes haf he vai ofthe note dhe + Theat = shea 61, ALOUETTE - THE SEQUEL a as as Saat Pittsburgh, PA. He has becom nized na, par dors the Calfoie Gol sh of 1849. iamang hs most weltinown songs re"My Ol enthy Home’ ana"campown Races" 62. CAMPTOWN RACES eer oe SaaS aS 7 63. NEW DIRECTIONS 2p of the valves, arched naturally SESS Sessa Bieta iad 05 conren PERFORMANCE SPOTLIGHT 55. WHEN THE SAINTS GO MARCHING IN - Band Arrangement 4 _—— = ‘Measure number & FERMaNDOPOLIS — 5, a] Artby John Higgins SSS SSS aoe 2ndtimegoon to mens. 137 Ludwig van Beethoven ‘Arrby John Higgins All John Higgins 12 PERFORMANCE SPOTLIGHT 52. PERFORMANCE WARM-UPS TONE BUILDER RHYTHM ETUDE RHYTHM RAP Chop CHORALE Andante eee) one ee ee) P —= ¥ 53. AURA LEE - Duet or Band Arrangement (Part A= Melody, Part 8= Harmony) pe French Folk Song cor, 5.0.08 enero, ce) == = [Ea will | Tappan. | HORN RANGE BUILDERS 57D. HIGH SEAS - New Note Cie fe 58D. MARIANNE Orbe pole oe ered d oleae —— [sy ~ 59D. BILL GROGAN’S GOAT 4 Maser Pept uf ~ 60D. HI-DEE-HO - New Note ‘Be ree Dow SS eS 61D. THE GREAT GATE OF KIEV - Duet fe Rope a Z s Ee] S L EPS oar % | rhip HORN RANGE BUILDERS b [flat sign lowers the pitch of a note by a half-step. The note B-flat sounds a half-step below 8, and all 8s become B-flats for the rest of the measure where they occur Flat = z 2 2 = 52C. SWEET AND LOW - New Note 53C. MAJESTIC MARCH & tf =] is Ai Fg Ped i} 54C, HIGH FLYER - New Note Bb & rio eo © Stem TSO Double Your Key Signature indicates the Key of F~ play all B's as Bats, Queen Liliuokalani, Hawai fee dt ple 4 44927/0001-42 | bE Fericay con TREC ZTime Signature | rommooras sr _Gondueting 6E 2brests per measive Practice conducting this | RG ‘ANOFHL = Quarter note gets one beat ‘two-beat pattern, 46. RHYTHM RAP Poy HOO oy yoy Tare eee Vere rere rere a 47. TWO BY TWO See Tempo Markings @™?0isthe speed of music. Tempo markings are usually wrtten above the staff in italian fempo Marking Allegro Fast tempo Moderato Medium tempo Andante - Slower walking tempo 48. HIGH SCHOOL CADETS ~ March John Philip Sousa Ally 7 oo ae Sa === a Dynamics Crescendo (gradual louder) __Decrescendoox Diminuende (gradual softer 50. CLAP THE DYNAMICS pa ae (A Lg »~— 51. PLAY THE DYNAMICS Oe 3 Time Signature Conducting x oe Ae ee \ 46. RHYTHM RAP THEORY cop BE EES pd 4) Tere ters tare 1628 tare ae tere r02e 47. TWO BY TWO ar SSS Saas blaze ere Tere TAre TeHae Teas Tere 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 48. HIGH SCHOOL CADETS - March John Philip Sousa sas ES f nettle ttn ie 49. HEY, HO! NOBODY'S HOME - New Note A Q Up Meter Dynamics 50. CLAP THE DYNAMICS FIM oi oo P <= =» 51. PLAY THE DYNAMICS —— ——7 =e SS ad _ 44, OH, SUSANNA 42. SKIP TO MY LOU ena 43. LONG, LONG AGO 45. ESSENTIAL ELEMENTS QUIZ — WILLIAM TELL SSS OSes Eighth Notes js J 40. RHYTHM RAP. ciop the rhyttin while counting and topping, POO OT A ys + | | 1 Fede de ae Terese ae Dare shee THe aH aA ae 41. EIGHTH NOTE JAM 42. SKIP TO MY LOU b = mf 43. LONG, LONG AGO 600d posture improves your sound. Always sit steaight and tal, Htalian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very proficient on the piano, viola and horn. He wrote William Tell at age 37 as the last of his forty operas, and its familiar theme is still heard today on radio and television, 45. ESSENTIAL ELEMENTS QUIZ — WILLIAM TELL Gioacchino Rossini Eee taf a ae y) mf mezzo breath support toc 37. LOUD AND SOFT eis a Hepa ¢ a ee , 539. MY DREYDL u: Eee 33, DEEP POCKETS - New Note Fem: O@O 34. DOODLE ALL DAY 35. JUMP ROPE $255 cle (One of more notes that come before the first full measure. The beats of Pick-Up Notes are Pick-Up Notes ciracted tom he lot measure 36, A-TISKET, A-TASKET 1 Pickup note 4a erased 2 , Sf ~forte (play loudly) mf —mezzoforte (play moderately loud)» ~ plano (play sot) ae Remember to use full breath support to control your tone at all dynamic levels. 37. LOUD AND SOFT fed ty gy 1.S.Pierpont 38. JINGLE BELLS iso practice new music on your mouthpiece only Traditional Ha “f Sag bot | COKPoRECA. .USIEAL GE FiRi "hina #44821/00H 12 EESTI Fermata ON Hold the note (or rest} longer thin norinat: al 27, REACHING HIGHER - New 28. AU CLAIRE DE LA LUNE esi 29. REMIX SSS 3 5 Sa Harmony ‘Two or more notes played together. Each combination forms a chord ~30. LONDON BRIDGE - Duet En 31, A MOZART MELODY appa Er Fermata oO Hold the note 27. REACHING HIGHER - New Note Pra French Folk Song Bees pa pS Sse Harmony Twoor more notes played together. Each combination forms a chord. 30. LONDON BRIDGE - Duet i 7 ee 1 |= Ee 51844827 /u0Gt-4 caidas cus “ee EESTI Whole fic “= "Whole Rest Whole Rest Half Rest == | A whole measure ° noe © of Sitent Beats Teresase Tazasesa hangsiom — Sitzona astaffline, —staffline 20. RHYTHM RAP Ciop theshythm while counting and topping, 4-111 11. eee —] Va2esaae Ta2as ede Teresa de TH2eT HAs TeDET EAE THe2Ed HAE 21. THE WHOLE THING = aS aS = See = ‘] vd ; ze be S Tererade ares eae Tare sese Erez EdE Duet A composition with two different parts, played together. 22. SPLIT DECISION - Duet Key — ‘The Key Signature tells us which notes to play with sharps (#) or flats (b) throughout ~ Sf atl the music. Your Key Signature indicates the Key ofF(one fla). When you see thiskey Signature ~ signature, play all 'sas Bflats (6H), a 23. MARCH STEPS 3 Play's 24. LISTEN TO OUR SECTIONS Percussion Woodwinds Oras Percussion Woodwinds rats Pere Wen Brass CIC e Whole Note Whole Rest A Whole Measure ———> = 4 Beat bod ne of Silent Beats Leresaae wererery 20. RHYTHM RAP. clop he rhythm while counting and tapping, got yp. Ve2asede THerHS OSs TOES HSE TD w2eaeae 21, THE WHOLE THING Whole Rest hangs from a staff line, ——}4— LL Teresaee Half Rest Sitsona staff line. = 1e2e3e4e 1e283404e Ss Taregade 7 Te2eaeae Tareas Duet A composition with two different parts, played tagether. 22. SPLIT DECISION - Duet a ae 1e20304e ‘The Key Signature tells us which notes to play with sharps (| THEORY 23. MARCH STEPS or flats (b) throughout the music. Your Key Signature indicates the Key of C (no sharps or fats) 24, LISTEN TO OUR SECTIONS Percussion Woodwinds Sass 26. ESSENTIAL ELEMENTS QUIZ. bouin he barines before you play lg Bi =e 2 COHPORACA. IE ‘uP, 15.00-000 t FERNANDOPOLIS — S. Ps t aera i Use the Bb Horn fingerings where indicated) Fim OOO @00 | SNEMCHOCA LEREMIEEFAB go tm 000 800 Notes In Review eek rea | Wemorizethe gelesen Ee L | foripenotesypuvedtaoadis — y.-, C= BBE A s F (Cobtte Horn Players should = Te = eS ca SS Half Note Half Rest = 3 oubleBar_» | 7 a ~ J —> = 28a =2 Silent Beats = Tere laze 15. RHYTHM RAP clap the shythm while counting and tapping, > gl iii a ee Vereseae 1a2e3 048 Teresede 1H2HeTAAE 1H2eTEoe 1O2ETERE 16. THE HALF COUNTS Repeat Sign a Varesade 14203940 1a2eseee Terese de Terese ae THDEs EdD Us 17. HOT CROSS BUNS. iy this song on your mouthpiece only. Then play it on your instrument. eee Breath Mark 9 Take @ deep breath through your mouth after you play a full-length note, 18. GO TELL AUNT RHODIE American Folk Song oo 19, ESSENTIAL ELEMENTS QUIZ Using the nore names and rhythms below, draw your notes on the staff before playing. ra BoE J 4 doyog B Co m A & A & F & A a Aw = zi EE 6 Notes In Review =— Memorize the fingerings an forthenotes you've learned: Fim OOO e00 000 e00 000 14, ROLLING ALONG SSS | [yet tl —. . 7 Half Note Half Rest 54 944827 /UOul-12 Tare ‘CaP, 15.600-000 LL resnanvorous = 5% | 15. RHYTHM RAP clap the rhythm while counting and tapping, lop Repeat Sign 1 gd—1) JJ 1 1 —- List yd La2a3e4e 16203848 14283 E4e THPEZHSE TH2ATHSG THPEI EGE 16, THE HALF COUNTS = Ta2edede 1H283 048 1E2ESEAE TAZET EME THPHSHAG THPHREAD 17. HOT CROSS BUNS Try hissong on your mouthpiece only. Then play iton your instrument. Breath Mark 9 ‘Take a deep breath through your mouth after you play a full-length note. ‘American Folk Song 18. GO TELL AUNT RHODIE 19, ESSENTIAL ELEMENTS QUIZ Using the note nomes and rhythms below, draw your notes on the staff before playing, as CORPORAGAG MUSICAL CE FERWANLO ‘CLIS eS a . eur soppy nee Double Bar SI) ioe Repeat Sign vo beg again from the beginning, 7. THE LONG.HAUE™*N»0"0Us — oe biter Ser G REST | 8. FOUR BY FOUR Repeat Sign SSE comet Va 2a aaa e Tez ks ads Tareas eae vazadaae 9. TOUCHDOWN TL Sa] f REST REST ‘| Hon @O0 _ bran TOOG pe Daub Hom Payette hunt hey andusethe Hom gen 10. THE FAB FIVE S Terese ae Tare ease taresage Treble Clef Time Signature Note Names (citer) indicates how many beats per measure Each notes ona ine or space ofthe staf. These indicates the and what kind of note gets one beat. note names are indleated by the TebleClet, Position of note ames on a music = Abeats per measure z staff: Second line = Quarter note gets one beat = is6, e 2 Sharp isesthe note and remains in ffct forthe ene measure, Flat b towers the note and remains in effect for the entire measure, Natural § cancels at sharp) and remains in effect forthe entie measure 11, READING THE NOTES Compare this to exercise 10, THE FAB FIVE. 1 Flat applies to all B's in measure. a4 SS 7 ee 12. FIRST FLIGHT Q 13. ESSENTIAL ELEMENTS QUIZ Filia the remaining note names before playing === SS ome —— [CELSO Double Bar Indicates the end Without stopping, play once = cof a piece of music. again from the beginning, Repeat Sign = 7. THE LONG HAUL D —=e He eo OC 8. FOUR BY FOUR _ Repeat Sign y Te all 9. TOUCHDOWN ¢ Foe C00 O—— 10, THE FAB FIVE Treble Clef Time Signature Note Names (Gclef) J indicates how many beats per measure Each note is on a line or space of the staff. These inclkates the and what kind of note gets one beat. note names are indicated by the Treble Clef Sharp issthenoteand.emainsin efector the ene measure THEORY Flat blowers the note and remains in effect for the entire measure. Natural cancels fat (y or sharp (t) and remains in effect for the entire measure, 11. READING THE NOTES compare this to exercise 10, THE FAB FIVE SS = Tees eee Tete dese HPs eee THDHT HAS 12. FIRST FLIGHT oe SSS = Fe 13. ESSENTIAL ELEMENTS QUIZ. Filin the remaining note names before playing al] al CONPORACAD MUSICAL DE FEMHANCG. CLI cee, sro000 GEG Long Tohe RSE AS —__ jo begin, wetlusea specal"Long Tone” note, Hold the tone unl your teacher tells you to rest, Practice long tones each day to develop your sound. a Vs THE FIRST NOTE your ieacher wil tell you which line to play first, and how long to hold each tone. Eton: (2.0.0 | igh Cipla open, tet yo finger igh OOOT double or Payer te tun heya uetee Hor ingen VV) Tow pet open antes you finger hyo te aes, The Beat The beat isthe pulse of music, and like your heartbeat it 1 should remain very steady. Counting aloud and foot-tapping help us maintain a steady beat, Tap your foot down on each number and up on each." i A Ouebeatic 1) Quarter Note = 1beat tt Notes And Rests Notes tell us how high o low to pla by their placement on Aline or space of the muse staf and how long to play by thee shape. Rests tellus to count silent beats, 2 quarter Rest = 1 silentbeat COUNT AND PLAY Pree OO ‘he black cies el you which valves to push clown, "(8 fabs played with Tat valve tee 000 | Fe — <> 4, TWO’S A TEAM [Rat al Come VO Dee Ae TOR Hr eS 5. HEADING DOWN Piactice long tones on each new note, A | —— | Double Ho layers he cha ey se the Ho ageing. A Finn @@0 o—_> MOVING ON UP Migye oki Te 2 eS oak Te2ea ewe EES Long Tone §=O————> 1. THE FIRST NOTE Hold each long tone until your teacher tells you to rest. rd “G°isplayed with open valves, Jus rest your agers ight onthe valves The Beat “The beats the pulse of music. and ke your heartbeat it should remain very steady. Counting aloud and foot-tapping help us maintain steady beat. Tap your foot down on each number and upon each "8." One beat = 1 & it 2, COUNT AND PLAY coun ‘A NEW NOTE Look for the fingering diagram under each new note. 3 ‘he block circes tell you which valves to pushdown. is played with Ist valve 4, TWO'S A TEAM edad =I ieee see uatetiete 5. HEADING DOWN Practice long tones on each new note, EE To begin, we'lluse a special"Long Tone" note, Hold the tone until your teacher tells you to vest. Practice long tones each day to develop your sound. REST Notes And Rests Notes tellus how high of low to play by their placement on a line o space of the music staff and how long to play by their shape. Rests tellus to count silent beats 4 cuarter ote = 1 best } auarternest = 1 slant beat <= REST 6. MOVING ON UP : Sates Comat V8 BES ve FEMA 2 518448 corpora i Getting It Together Frmerenewnt is = 5. j Step 1 Hold the hom in your left hand, and place the bell of the instrument on your right thigh The bell should point backwards, slightly angled to the right, Step 2 Use your right hand to gently twist the mouthpiece into the mouthpiece receiver, ‘Step 3 Place your left thumb inside the thumb ring. Your fingertips should rest on the valves. Place your litle finger in the hook, Step 4 Cup your right hand slightly. Keep your fingers together and put your thumb against your index finger as shown below. Place your hand inside the bell. The back of your fingers should touch the far side of the bell Step 5 Always sit up straight when playing, Hold the horn as shown: Single Horn /Double Horn Fingerings The fingerings used throughout the exercises in this book are intended for students who are playing a Single F Horn or Double F/8+ Horn, Single F Horn players should always use the fingerings that are indicated for F Horn, For Double Horn players, notes commonly played on the“ side” of the horn are shown only with F Hor fingerings. For ‘notes that are preferably played on the "Br side” of the hom, the Bb Horn fingering is shown in addition to the F Horn fingering. Students with Double Horns should add the thumb key and use the Bb fingering where indicated, Students who may be playing 2 Single B> Horn will need to refer to the fingering chart in the back of this book for the proper fingerings for Single Bb Horn READING MUSIC Music Staff Identity and draw each of these symbols: Measures & Bar Lines Ledger Lines Mecaure Measure 4 3 4 Sortine arkine artine Bar lines divice the music staff The music staff has 5 lines andl 4 spaces where nates and rests are written, Ledger lines extend the music staff. Notes on ledger ines can be above or below the staff, into measures. THE BASICS Posture Sit on the edge of your chair, and always keep your: + Spine straight and tall + Shoulders back and relaxed Feet flat on the floor Breathing & Airstream Breathing isa natural thing we all do constantly. To discover the correct airstream to play your instrument Place the palm of your hand near your mouth. + Inhale deeply through the comers of your mouth, keeping your shoulders steady. Your waist should expand like a balloon, + Slowly whisper“tahas you gradually exhale air into your palm. ‘The air 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 “Buzzing” through the mouthpiece produces your tone. The buzz isa fast vibration in the center of your lips. Embouchure (ahm -bah-shure) is your mouth's position on the mouthpiece of the instrument. A good embouchure takes time and effort, so carefully follow these steps for success: BUZZING + Moisten your lps + Bring your lips together as if saying the letter 'm.” + Relax your jaw to separate your upper and lower teeth. Form a slightly puckered smile to firm the comers of your mouth. + Direct a full alrstream through the center of your lips creating a buzz. + Buzz frequently without your mouthpiece MOUTHPIECE PLACEMENT IF you are switching from trumpet to horn, note that the horn mouthpiece placement is nearly the opposite as the trumpet mouthpiece placement. + Form your "buzzing" embouchure. Place the mouthpiece approximately 2/3 on the upper lip and 173 on the lowerlip. Your teacher may suggest a slightly different mouthpiece placement. Take a fll breath through the corners of your mouth, Start your buzz with the syllable “tah.” Buzz through the center of your lips keeping a steady, even buzz. Your lips provide a cushion for the mouthpiece. MOUTHPIECE WORKOUT Using only the mouthpiece, form your embouchure carefully. Take a deep breath without raising your shoulders. Taking Care Of Your Instrument Before putting your instrument bback in its case after playing, do the following: + Use the water key to empty water from the instrument. Blow air through it. If your horn does not have a water key, invert the instrument. You may also remove the main tuning slide, invert the instrument and remove excess water. + Wipe the instrument off with a clean soft cloth, Return the instrument to its case. Remove the mouthpiece. Once a week, wash the mouth- piece with warm tap water, Dry thoroughly. Horn valves and slides occasionally need lubricating, Your director will recommend valve oil and slide grease, and will help you apply them when necessary. wot Bad CoRPORAGAS eens Begin buzzing your lips by whispering “tah” and gradually exhale your full airstream. Strive for an even tone. | REST | “tah” ugh” | REST F HORN BOOK 1 COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Band is... Mlaking music witha family of tifelong fiends. Understanding how commitment and dedication lead to succes. Sharing the joy and rewards of working together ( Individuals who develop self-confidence. sta fief fk Creativity—expressing yourself in a universal language, web tl Bands. MUSICE conPen:e, Strike up the band, Tim Lautzenheiser Tre ecen nom eve om 1th century hunting hms These nswument dd not have valves. and changed hots by sing various or tuning sides, Most hm players hao perform ith several cook that alowed them to pay the conect notes, In 160, the wompe was intoducedin Franc, This instruments tubing had212clland retained the nickname-Fench horn. However, German instrument makers actualy perfected, toa’ hor, Sel nd lel add valves othe horn in 18, wich eliminated the need foredot. Roary valves troduced in 1853, are commen ound on todo’ home. "Single horns nave 3 valves "doublons nF have 3 valves and thumb key. Hors provide an portant fll idle voce inthe concert band They bend wel wha instruments ard iy sl melodies and harmonies NUOH JHL 40 AYOLSIN Mozart, Beethoven, Mahler R. Strauss and Wagner are all composers who have featured horns in their writing. Two famous horn performers are Barry Tuckwell and Philip Farkas. ISBN 0-634.00321-6 1999 by HAL LEONARD CORPORATION International Copyright Secured All ights Reserved opyrih HAL*eLEONARD* CORPORATION we F HORN BOOK 1 {ESSENTIAL a ELEMENTS PLUS COMPREHENSIVE BAND METHOD TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINE |; PAUL LAVENDER TOM C. RHODES cou DON BIERSCHENK PA rav-Leonarp EMC OR PORATION