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189 views41 pages09 - Trumpet - PDF - 1
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© © All Rights Reserved
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/ 41
A THREE DIMENSIONAL APPROACH
TO A BETTER BAND
as easy as one: two-three
by james d. ployhar
& george b. zepp
Lith 14,
(| ae )
ui | tune up-warm up s
a cay i i
Q key preparation
i
aay |
roa :
5 rhythm preparation BY JAM
bE
A THREE DIMENSIONAL APPROACH TO A BETTER BAND
Seas)
as ONE-TWO-THREE!
ES D. PLOYHAR & GEORGE B. ZEPP.
6D Irumpet
CONTENTS. Saar
Book
INTRODUCTION TO HARMONY 3
|. TUNE UP-WARM UP
Tuning (Unison and Chords) 6
Up Slurs (Brasses) 7
Embouchure Studies (Woodwinds) 8
Chromatic Studies 8
U. KEY PREPARATION
Concert (Cc) F Bb
Instruments Instruments Instruments.
Key of: 8 F c 10
Key of 9 minor d minor a minor e minor n
Key of: € Bb F c 12
Key of ¢ minor g minor d minor a minor 13
Key of: F c @ o 14
Key of: minor a minor @ minor b minor 18
Key of Ab E> Bb F 16
Koy of: f minor ¢ minor g minor d minor 7
Key of c G A 218
Key of a minor @ minor 4 minor 19
Key of Ob Ab € Bb 20,
Key of Bb minor f minor minor g minor 24
Key of Gb Db Ab € 22
key of eb minor Bb minor {minor © minor 23
Key of: 6 o A E 24
Key of: e minor minor {# minor of minor 25
Key of D A E 8 26
Key of b minor {# minor cH minor ‘o# minor 27
Key of: A E 8 FH 28
Key of: 4H minor c# minor aH minor dt minor 29
(il, RHYTHM PREPARATION
Eighths and Sixteenths 30
Alla Breve {Cut Time) 3t
Time vee 32
618 Time ; 33
Triplets .. 234
Syncopation.. 35
9/8 Time 36
42/6 Time 37
Mixed Meters 38
(© 1083 BELWIN-MILLS PUBLISHING CORP,
pod fo and Corttoled by ALFREO PUBLISHING CO,, INC
ALR.
‘Al Pghts Hosored inducing Publ Performance TO THE STUDENT:
The 3-D BAND BOOK is a three-dimensional approach to REHEARSAL PREPARATION.
This complete TUNE UP-WARM UP program will reduce rehearsal stress and permit greater
accomplishment with lass effort. The overall preparedness that this book provides will make
every rehearsal a more rewarding and enjoyable experience.
‘The book Is divided into the following sections:
|. TUNE UP-WARM UP
Il KEY PREPARATION
{il RHYTHM PREPARATION
In addition, there are three pages of HARMONY and EAR TRAINING which will provide the
basic knowiedge necessary for relating to the EXERCISES and CHORALES found in the book.
By following the instructions as to the use of this book, as explained by your director, you will
be abie to approach every rehearsal period with confidence and ski
‘CHORALES
AMIGHTY FORTRESS IS OUR GOD- Luther/Bach
WHEN ON THE CROSS THE SAVIOUR HUNG - J.S. Bach
HOW BRIGHTLY SHINES THE MORNING STAR - Nicola/Bach
JESUS, PRICELESS TREASURE - J.S. Bach
LET ALL TOGETHER PRAISE OUR GOD - J.S. Bach
WHO IS THE MAN? - German Melody ....
O THOU OF GOD THE FATHER -J.S, Bach
THE GOD OF ABRAHAM PRAISE - Hebrew Melody
‘THE BLESSED CHRIST IS RISEN TODAY - Praetorius
LORD GOD, NOW OPEN WIDE THY HEAVEN - M,. Altenburg
WATCHMAN, TELL US OF THE NIGHT -J.S. Bach
COME, LET US ALL WITH FERVOUR - J.S, Bach
TO GOD WE RENDER THANKS AND PRAISE - M. von Hessen
IN PEACE AND JOY | NOW DEPART - J.S. Bach
HARK! A VOICE SAITH, ALL ARE MORTAL -J.8. Bach
IN THEE, LORD, HAVE | PUT MY TRUST -J.S. Bach
OGOD, IN WHOM WE LIVE AND MOVE - Johann Schein
OSACRED HEAD NOW WOUNDED - Hans Leo Hassler
THE BEAUTEOUS DAY NOW CLOSETH-- Heinrich Isaak
COME, CHRISTIAN FOLK - J.8. Bach
Student
Book
10
aM
12
13
14
15
16
7
18
19
-20
24
22
-.23
24
a 26
26
27
28
29
PUBLISHED FOR:
Conductor Bb Bass Clarinet Eb Baritone Saxophone
Flute Oboe 80 Cornet-Trumpet
Eb Clarinet Bassoon Horn in F
b Clarinet Eb Alto Saxophone Horn in Gb (Mellophone)
Eb Alto Clarinet @b Tenor Saxophone Trombone
Baritone (Treble Clef}
Baritone (Bass Clef)
Bass (Tuba)
Drums:
Bells (Musical examples on Introduction to
pages 3 and 4 are for
me Ha
HARMONY IS THE ART OF COMBINING NOTES INTO. CHORDS, IT IS
‘THE STUDY OF HOW THE ELEMENTS OF MUSIC ARE PUT TOGETHER.
oo
ITT
T Ye
whole whole halt Sigh siaps= = ta
wep. scp. Step nen
On the piano keyboard pictured above you can see that a HALI' STEP is the distance from one note to
the note directly above or below it, regardless of whether it isa black key or a white key. Notice that E to
F and B to Care half-steps beeatise there is no black key (half-step) between them. A WHOLE step consists
of TWO half-steps,
Intervals
AN INTERVAL IS THE DIFFERENCE IN PITCH BETWEEN TWO NOTES
Intervals are identified by numbers. The number name of an interval tells you how much higher its top note
is than its lower note. A
To find the number name of an interval, count the lines and spaces between the notes. Count the bottom.
note as “one,” The number of the top note tells you the name of the interval.
STUDY THE FOLLOWING EXAMPLES:
Second Third Sixth Seventh ‘Octave (8th),
Fifth
Fourth
128465 1284561234667 12345678
Major and Minor
Intervals also have SIZE names. The size of an interval is determined by the number of STEPS and HALE.
STEPS between the two notes,
Some intervals (2nd, 3rd, 6th, 7h) can be MAJOR (large) or MINOR (small). FOR EXAMPLE:
12.123 1234
The notes of a MAJOR (large) rd ‘The notes of a MINOR (small) 3rd
are TWO WHOLE STEPS apart: are a WHOLE STEP + a HALF STEP apart:
& $ é a eatin i: é Saas
major Sed whole whole rainor 3rd wisle bait
step step step step
"The following intervals are thirds. You decide if they are major or minor by counting steps and half steps.
‘The keyboard picture at the top of the page will tell you which notes are only a half-step apart.
MEMORIZE: The intervals that can be MAJOR or MINOR are the 2nd, 8rd, 6th, th. Perfect Intervals
The intervals that are not major or minor are PERFECT. They are the prime, fourth, fifth, and octave.
A PRIMM is the interval of “one”. It is made by two instruments sounding the same note. An OCTAVE is
the interval of an “eighth”,
A fifth on any note of the staff (without flats or sharps) is PERFECT.
EXCEPTION: The fifth from B to F is diminished.
A fourth on any note of the staff (without flats or sharps) is PERFECT.
EXCEPTION: The fourth from F to B is augmented,
Augmented Intervals
A PERFECT interval made larger becomes an AUGMENTED interval.
A perfect interval may be
or by LOWERING
made larger by RAISING SP=—Z=F2—ES—HS—} the norrom note
the TOP note ahalfstep: "Perf. Aug. Perf, Aug. a half-step: ‘Aug Pert, A
Sth’ ih) 4th’ 4th Te ae ae ae
4th’ duh Beh’ Beh
Diminished Intervals
A PERFECT interval made smaller becomes a DIMINISHED interval.
A perfect interval may be
‘or by RAISING oo
made smaller by LOWER~ z the BOTTOM note. a
ING the TOP note a half- Perf. Dim. © Perf. Dim. a half-step: Perf. Dim. Perf. Dim. *
step: Sth 5th 4th 4th Sth — 5th Ath 4th
Chords
A CHORD IS.A GROUP OF NOTES WHICH BLEND HARMONIOUSLY WHEN SOUNDED TOGETHER.
‘The simplest chord consists of throe notes. It is called a TRIAD.
A chord or triad takes its name from the note upon
which it is built. ‘That note is called the ROOT of
the triad:
Root
C chord Fchord . Gchord
‘The note ahove the root is called the THIRD of the =—>— The note above that is ealled the 6th of Samp
triad, Tt makes an interval of a 3rd above the root: REEB= the triad. It isa 6th above the root: Soo
‘There are four kinds of triads:
Major £ Minor Augmented Diminished
o Stee vere =e eg es oe
major perf. _ major minor perf, _ minor major aug. _ aug. minor dim. | dim.
Bed Sth triad 3rd 5th ~ triad 8rd 5th triad 3rd 5th triad
Chord Symbols
In addition to its letter name a chord or triad has a number. Its number is the step of the scale on which the
chord is built,
For example, C is the first note of the scale in the key of C. The chord built on C will therefore be the
“one” chord in that key. It is identified by the Roman numeral I,
A capital letter means the chord is major, A small letter means the chord is minor. ‘The VII chord is dimin-
ished, Here aro the letter and number names of chords in the key of C: Musical examples on Introduction to 5
page may be played by
rs al EAR TRAINING
It will be helpful to you to know the ‘THEORY of music as it is written; but it is even more important to
learn to HEAR harmony.
Here are some intervals that you will hear often in your music, Continue to review this exercise until you
can recognize them by their sound. Listen for them as you play the chorales in this book.
Major ded, Minor 3rd Porfect 4th Perfect 5th Diminished 5th
o
Minor 6th Major 6th Octave Major 3rd Minor 3rd__ Octave
eo
All of these intervals are thirds except the last two. As you play the exercise, listen carefully for the differ-
ence in sound between major and minor. :
iy
23
M
(M= major; m = minor)
‘As you play these perfect fifths, try to momorize their characteristic sound. i
iv - ive ve
o
Now put Srds and ths together and listen to the sound of major and minor triads:
Perfect 5th 4 Perf. 5th Perf. Sth
ey pe
ay,
ay,
43 :
ct ‘Major bescsaeat minor = minor Major
Maj. 3rd triad minor 3rd triad minor 3rd triad triad*
~ Inverted (upside down) triad ith the root ontop.
The Principal Chords
‘The principal chords in any key aro the 1, the IV, and the V.
‘The I chord is called the TONIC chord, The V chord is called the DOMINANT chord.
‘The IV chord is called the SUBDOMINANT, because it is below the dominant.
‘SUB means UNDER ot BELOW.
EVERY NOTE OF THE SCALE CAN BE HARMONIZED USING THESE THREE CHORDS
Principal Chords In Major
Mm oC Maj. niin, =F Maj. min. = G inverted triad) C
or ard Grd V, ard ad V I
Principal Chords In Minor
6 F E 2 E
mor Maj. min, Maj. ft Maj. min, G (inverted triad)
ard rd Sd Sed IV ard ard v I
Notice that in a MAJOR. key all of the prineipal chords are MAJOR, In a MINOR key the I and IV chords
are MINOR, but the V chord is MAJOR,
diy, I. Tune Up - Warm Up
For tuning purposes the band is divided into four basie groups, Group IT includes Bb Trumpets/Comnets
and Alto Saxophones.
UNISON ‘TUNING is accomplished by utilizing measures 1 and 2 of each line, A reliable instrument or
tuning device should be used to tune the instruments in Group TV. Other groups are then added to this
unison.
‘The tondency of the note to be flat or sharp is indicated by a symbol to the right of the note. Students
should adjust pitehes accordingly. The Arabic numerals to the left of the note indicate the note’s position
within the chord,
Key of C Major (Bb Concert)
Group I atv. L Iv vi L
1 —
Koy of F Major (Ib Concert)
i I Vv vt 1
Key of G Majot (F Concert) 1 Vv vi I
a
Koy of D Major (C Concert)
re I Vv yt I
Key of Eb Major (Db Concert) : i yt
Key of Ab Major (Gb Concert) 1
) I Vv vi I
Koy of A Major (G Concert) I Vv yi 1
Key of E Major (D Concert)
>, 1 vv yi 1
Koy of B Major (A Concert)
coy sor ( ) I Vv vi I Lip Slurs
(Brasses)
+e 2 28 Ls
(Por F Horn only)
ai
BL Embouchure Studies
(Woodwinds)
Dominant Seventh Arpeggios
(Woodwinds)
L264 Chromatic Exercise
fre page without stopping. However, the conductor may
For best results the band should play the enti
to the rehearsal piece. Apply
choose to rehearse one or more lines of chromatic scales that are appropriate
various articulations to these scales.
BL 2804 10
Il. Key Preparation
Key of C Major
(Bb Concert)
Scale in Half Notes
Harmony
ay,
Scale in Bighth Notes
Ge,
Scale in Thirds
4 he
Principal chords in the key of C Major. Try to identify them in the chorale.
iy. ay. 1V diy, V av
A Mighty Fortress Is Our God Arrant bed BACH
2
BL. 2068 ; i
Key of A Minor
(G Minor Concert)
Scale in Half Notes
epee
Scale in Bighth Notes (Melodic Form)
act 2
4 = eed
Tere +s
Scale Skills Ployhar
Principal chords in the key of A Minor. Try to identify them in the chorale.
I wv
6
When On The Cross The Saviour Hung
J.8. Bach
a 12
Key of F Major
(Eb Concert)
Scale in Half Notes
1
2
Scale in Eighth Notes
3 a
Scale in Thirds
4
Scale Skills
Principal chords in the key of F Major. Try to identify them in the chorale.
iy, L av IV av. av. 1
How Brightly Shines The Morning Star
P. Nicolai
arranged by J.8, Bach
a a 13
Key of D Minor
(C Minor Concert)
Scale in Halt Notes
Harmony,
iv.
Scale in Highth Notes (Harmonic Form)
3 Games ein
a in Eighth Notes (Melodic Form)
1 Sea ee ee aS Sp =a
Scale Skills
> Sa eres
Principal chords in the key of D Minor. ‘Tyy to identify them in the chorale,
1 Vv
ai. av. div. div
6 GEE 7
Jesus, Priceless Treasure
4.8. Bach
a
a 4
Key of G Major
(F Concert)
Scale in Half Notes
1
Harmony
2
Scale in Bighth Notes oe ME Parl
8 & = | a ae
ger wre ZF. a sg.
Seale in Thirds
Scale Skills
——
Principel chords in the key of G Major. Try to identify them in the chorale.
iy 1 aww TV aiy.V __aw
Let All Together Praise Our God
4.8. Bach
BL.2804 Bry
Key of E Minor
(D Minor Concert)
Seale in Half Notes
1
Harmony
dy,
2
Scale in Bighth Notes (Harmonie Form)
: coe
Scale in Highth Notos (Melodie Form)
Scale Skills
Principal chords in the key of B Minor. Try to identify them in the chorale.
7 2
Who Is The Man? German Melody
a
a
BL. 2864 Key of Bp Major
(A> Concert)
Scale in Halt Notes
Higrmony
Scale in Eighth Notes
oe
Seale in Thirds
Scale Skills
a
Principal chords in the key of Bb Major. Try to identify them in the chorale,
aw.t iy TV iy. V aw. E
3.8. Bach Key of G Minor
(F Minor Concert)
Scale in Halt Notes
1
2
Scale in Eighth Notes (Harmonic Form)
Peles LTT asceeas
3 eeeezict ae a9 4 xj
Zz eee ey :
Scale in Eighth Notes (Melodic Form)
4
Scale Skills
5
1. 2.
Principal chords in the key of G Minor. Try to identify them in the chorale,
1
diy. div.
aly div.
‘The God Of Abraham Praise eet Key of D Major
(C Concert)
Scale in Half Notes
Harmony
ive
Scale in Highth Notes _
Scale Skills
Principal chords in the key of D Major, Try to identify them in the chorale.
av. aw. 1V
ay. V av. 1
‘The Blessed Christ Is Risen Today Praetorius
a
BL. 2864 19
Key of B Minor
(A Minor Concert)
Scale in Half Notes
Harmony
Scale in Eighth Notos (Harmonic Form)
3 See aaEe
Seale in Hight Notes (Melodic Form)
Scale Skills
Principal chords in the key of B Minor. Try to identity them in the chorale.
atv. T a tV av. V ay. I
2
BL 286 7 Key of Eb Major
(Db Concert)
Scale in Half Notes
1 .
Harmony |
2 GPE | |
‘Scale in Eighth Notes |
3 Genesee pS Ea
Scale in Thirds
Principal chords in the key of Eb Major. Try to identify them in the chorale,
I Vv
ay. aiv. V ay. 1
ay,
Watchman, Tell Us Of The Night
1.8. Bach
L236 21
Key of C Minor
(Bb Minor Concert)
Scale in Half Notes
ie
Be
Harmony
dive
Scale in Highth Notes (Harmonie Form)
3;
Seale in Eighth Notes (Melodic Form)
cea.
4 @rker
Scale Skills
Principal chords in the key of C Minor. Try to identify them in the chorale.
diy. __aiv TV aw. V dive
Come, Let Us All With Fervour
J.8. Bach 22 .
Key of Ab Major
(G> Concert)
Seale in Halt Notes
Harmony
Scale in Eighth Notes
0-4 ert ef
3 grr tetss corte ag
Scale in Thirds
Scale Skills
—
Principal chords in the key of Ab Major, Try to identify them in the chorale,
6 Gee
aiv.
diy. div. iy.
'To God We Render Thanks And Praise
M. von Hessen
BL.2H64 23
Key of F Minor
(B Minor Concert)
Scale in Half Notes
o
1
Harmony,
2
Scale in Eighth Notes (Harmonic Form)
3 Gee Sr
