57 0 32MB
A comprehensive band methodzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA tnat develops creativityzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA and musicianship 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 Thsnks M a tt
photos (cover, pages 1 & 2) are courtesy 01 Yamaha Corporation
to th e s tu d e n ts
M cK agan
lesl
f o r t h e ir
and
s ta ff
o f L in d e r o
p a r t ic ip a t io n
in
C anyon
M id d le
th e p h o to g ra p h s
S chool
on pages
Copyright © MCMXCVII Alfred Publishing Co.• Inc. AII rights reserved. Printed in USA.
and
8and
3 and
4.
01 America. D ir e c t o r
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11
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OETTINO READY
To
PLAY
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 center of the embouchure HEAD
motion. The
hole should be
J O I N T ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
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 back of the
n key points
to the
to the center of
the keys on the middle joint.ZYXWVUTSRQPONMLKJIH
FLUTE CARE 1. When you are finished
playing, take your flute apart FOOT
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.
JO IN T
CHECK YOUR PLAYINO POSITIONzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 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.
•
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
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: s l i g h t l y as if 1. Stick your lower lip outVUTSRQPONMLKJIHGFEDCBA
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
PRACTICE TIPS
1. Practice taking a full breath, filling
1. T ry to find a place with a good, firm chair where
the bottom
of your lungs so that your stomach expands.
you will not be interrupted.
Then fill the top of your lungs without
hold your music in the correct position for playing.
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
2. Start by playing long tones. This builds your embouchure
and improves your tone.
3. Always include some already learned "review"
and start blowing a focused stream of air by
pieces, so that you continue
whispering
your performance.
"doo",
feeling as if you are holding
back some of your breath. After you've made a
4. Spend a concentrated difficult
end of the head joint to produce a lower pitch.
play only the easy parts.
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.
to improve and perfect
period of time on the most
tone, try placing your right hand over the open
Next, produce several notes on one breath by
Use a music stand to
parts of your music. Avoid the temptation
5. To make your practice even more enjoyable, playing along with theONMLKJIHGFEDCBA A C C E N T O N A C H IE V E M E N T accompaniment
CDs or cassettes.
try
to
THE STAFFzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 5 lines and 4 spaces used for writing music.
TREBLE CLEF
Also called G clef.
DOUBLE
The second line
I
BAR LINE
The end of
of the staff is the note G.
a section Divides the staff
TIME
BAR
into measures.
SIONATURE
MEASURE
of music.
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 (A, S,
e,
order
D, E, F, G, A, S, etc.).
There are rules that help us
e
E
A
FIHGFEDCBA ~ ZYXWVUTSRQPONMLKJIHGFEDCBA From bottom to top, the spaces spell FACE.
~~----G~_~B D~
~~--E---------::::3 The lines can be remembered by using the first letter of each
remember the names of the lines
word in the sentence
and spaces of the staff.
Every Good soy Does Fine.
LEDOER LINES
Used to extend the staff.
A
B zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA e o E F G A B e o E F
G
A
B
e
11.
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA TIME
4= 4=
SOLO
One person playing
SIONATURE WHOLE
4 beats in each measure quarter note receives 1 beat
3
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WHOLE
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A C C E N T O N C R E A T IV IT Y : T b ls D ld M a n Ch
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f
h
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American Folk Song
69
f
P
f
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SINGLE EIGHTH
Each receives ~.
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NOTE ANO EIGHTH
1;2 beat in
!time.
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EIOHTHS
11.
112.
1
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paZYXWVUTSRQPONMLKJIHGFEDCBA f f POLLY WOLLY
DOODLE
Allegro
71
American
Vi
Folk Song
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MARCH
FROM
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ALLA TURCA
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Wolfgang
Moderato>
A. Mozart
(1756-1791)
72 f LA BAMBA
.
Mexican
Folk SongIHGFEDC
73 f
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74~~'~ P
For more individual technique
practice,
see page 42. #5.
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TEMPOZYXWVUTSRQPONMLKJIHG M A R K IN O
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Very fast tempo
QpPOSITE DIRECTIONS
75~'i~*~n~
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f ACCIDENTAL ENCOUNTER
76~¡~_ P
f
CHESTER
William
Andante
~
Billings
(1746-1800)
77~e~gf.*J f
p
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BELLA BIMBA
Italian
Moderato
11.
Folk Song
112.
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ACCENT
80
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Fill in the note names, then fill in the fingerings .
ON THEORY
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ooOlIOOOCl
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00"
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M U L T IP L E
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D V N A M IC
M EASURE
REST
2 ZYXWVUTSRQPONMLKJIHGFEDCBA
M A R K IN O S
, 1 1 f f ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA mezzo forte-medium loud Count:
mezzo piano-medium
m p
12
3 4 ;
2
2 3 4
softzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
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81
EXTENDED
RESTS
toueti
2 3 ;2 2 3
aZYXWVUTSRQPONMLKJ f
8 2 VUTSRQPONMLKJIHGFEDCBA
23
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m j'
p
f
KOOKABURRA (Round)
CD
Moderato
Australian Folk Song
83Vi mp
FROM "ORPHEUS"
FINALE
(Can-Can)
Jacques Offenbach
>
Vivace
(1819-1880)
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m j'
f
f ONMLKJIHGFEDCBA
m j'
ACCENr
O N C R E A rIV 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 pitches shown.
85
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CCENT ON PERFORM ANCE
GALACTIC
EPISODEzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
John O'Reilly and Mark WilliamsHGFEDCB
AndanteVUTSRQPONMLKJIHGFEDCBA
mp
Allegro
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m f zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
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ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA STACCATO Play the notezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 1¡2 its normal length.VUTSRQPONMLKJIHGFEDCBA
JI
BUILDER 1)
86
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A SHORT STORY
. . . 87
m j'
WILLlAM TELL OVERTURE
88
Gioacchino Rossini
=p, ti
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f HATIKVAH Andante
.
Israeli National Anthem
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MINUET
Johann Sebastian Bach
Moderato
~
(1685-1750)
90~1~1~ mp
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ACCENT ON FLUTE
91~.$~~'*~'$~ m f' For more individual technique
practice. see page 43. #6 & 7.
HG
DOTTED
OUARTER
1&2&
N O T E zyxwvutsrqponmlkjihgfedcba
1&2&
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In ~ ' and time, a dotted quarter note receiveszyxwvutsrqponmlkjihgfedcbaZYXWVUT 11;2 beats.
DOTTED OUARTERSZYXWVUTSRQPONMLKJIHGFEDCBA ~
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Count:
3 & 4 & aZYXWVUTSRQPONMLKJIHGFEDCBA
Giuseppe Verdi
ANVIL CHORUS from "IL TROVATORE" Moderato I
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(1813-1901)
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ALOUETTE Vivace
French-Canadian
Folk Song
SAKURA Japanese
95~
Folk Song
~
mp
~
~ mp
WEARING
r ito
OF THE OREEN
Allegro
~
Irish Folk SongIHGFEDC
96HGFEDCBA
ACCENT
ON THEORY
TAKE A REST: Complete each measure by adding the correct rest, then write in the counting
and clap.
0.5.
(OALzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA SEO NO) AL FINE
Go back to the sign ~ and play until Fine.
lrs
RAINING,
IT'S POURINO
'1
ModeratoVUTSRQPONMLKJIHGFEDCBA
,
T raditionalZYXWV
99
b
m i ' HGFEDCBA
m p
ARIRANO Andante
Korean Folk SongaZYXW
100 p
m i' QOE TO
p
Jov
from "SVMPHONV
No. g"
Ludwig van Beethoven
101
f ONMLKJIHGFEDCBA
ACCENr
102
te0
D N C R E A rIV lry : F r e e I m p r o " i s a t i o n zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
n
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.
TEMPO
•
MARKINO
Largo D.C.
Very slow
(DA
CAPO) AL FINEzyxwvutsrqponmlkjihgfedcbaZYXWVU
Go back to the beginning play until Fine.
Do ES
EASY
ITzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
112.
103~ aZYXWVUTSRQPONMLKJIHGFEDCBA
FROM
"NEW
WORLO
:~~.
~ VUTSR
mp
mp
f THEME
and
SYMPHONY"
Antonin
Dvolák
(1841-1904)
p
SONO
OF THE VOLOA
Andante
BOATMEN
.
Russian Folk Song
1 0 5 _ ~ ~ i~ mp
LIZA JANE
Vivace
106 ~~~
American
Folk Song
if~· *~-I
~.*~-~ HANSEL
107
ANO ORETEL
CHORALE
Engelbert Humperdinck
¡tii
ntONMLKJIHGFEDC
mp
ACCENT
ON FLUTE . >
.
108
f For more individual
mp technique
practico. see page 43.
#8.
•
ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA SY.~COPATION
Starting a note that is one beat or longer on "&."
RHYTHM
109
1
& 2
&
& 2
1
&
ANTICS
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LONO TIME
American
11.
Allegro
Folk Song
112.
1
1IaZ
110~i~e f HAlL,
mp
THE CONQUERINO
Moderato 11
11
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George F. Handel
(1685-1759)
P.
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ezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA CRESCENDO
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CROSSINC
DIMINUENDO
get softer graduallyponmlkjihgfedcbaZYXWVUT
get louder gradually
THE BREAK
e 115~'~'_'~ aZYXWVUTSRQPONMLKJIHGFEDCBA
f
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-
116
TRUMPET
rouen
VOLUNTARY
Jeremiah
Moderato a
117 b
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FINLANDIA
Jean Sibelius
Andante
(1865-1957)
IHGFEDCBA
~~~-=~~~==-
118
m p -=::::::::: m f
ACCENT
O N C R E A T IV IT Y
Clarke
(1674-1707)
= Create your own composition
"7WD
====- p HGFEDCBA
mp
containing
a balance of unity and variety.
119~~~~~~~ 1. Copy the first two measures into measures 5 and 6 to create unity. 2. Compose new music for the remaining measures to add variety.
3.
Play your composition.
..
TIME
"
.•
e
SIGNATUREZYXWVUTSRQPONMLKJIHGFEDCBA
Common Time-same
SHEPHERD'S
HEY
as
i
rouen English Folk Song
AllegroVUTSRQPONMLKJIHGFEDCBA r= :
120
BOTANY BAY ModeratozyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
-==
121 ~~
~*~· fiF*~
Australian
Folk Song
-m p ~
HGFEDCBA m p
REUBEN ANO RACHEL (ROund) Vivace
r:i'\
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122 aZYXWVUTSRQPONMLKJIHGFEDCBA
f AMAZINO ORACE
123ONMLKJIHGFEDCBA
ACCENT ON FLUTE
~
11
124_----':~ For more individual
technique
practice, see page 43, #9.
112.
1
po
•
MORE
SVNCOPATION
1IHGFEDCBA & 2 &
1
&
2
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.sVNCOPATEO RHVTHMS
RUSSIAN SAILORJS DANCE
Glierezyxw
Reinhold
Moderato
(1875-1956)
126~~~~~
~~~@ VE BANKS ANO BRAES OF BONNIE DOON I
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11.
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TOM DOOLEV American
Folk Song
~~~.fi~~
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ON THEORY
Arrange the following
dynamics in order from softest to loudest and back:
m ¡ f. p .
f·m p ·
129
•
KEY SIONATURE
0001000 41 IHGFEDCBA
AII B's, E's, A's and D's should be ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDC
0(7'
ON
Top
played as 8~, E], A~ and
m throughout.
OF OLO SMOKY American
~.~~-'7·~70~r
131~·
Folk Song
*
ZYXWVUTSRQPONMLKJIHGFEDCBA
~
~.ij.~.&.~ Peter 1. Tchaikovsky
MARCH SLAV
(1840-1893)
rr---'1r2I
Largo
132
~e~":~ VUTSRQPONMLKJIHGFEDCBA
-=:::::::::::aZYXWVUTSRQPONMLKJIHGFEDCB f :::=:::::::==-
mp
LAS MAÑANITAS Mexican Folk Song
133
f
p
~
f
p
POMP ANO CIRCUMSTANCE Edward Elgar
Andante
(1857-1934)
r
134VIl f
1,.
~~~~r~@
!Ff
For more individual
technique
11 ~~o
~:lf =
practice, see paqe 43, #10.
2.
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FLUTE
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Carl Maria von Weber
rnzyxwvutsrqponmlkjihg HGFEDCB (1786-1826)
Allegro
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Flute
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LILI'UOKALANI Hawaiian composer (1838-1917)
ANDANTE
MEASURE
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BACH, JOHANN SEBASTIAN German composer
( 1685-1750) BAR LINE Divides the staff into measures BASS CLEF
en
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MEZZO FORTE ( m f )
Medium loud
MEZZO PIANO ( m p )
Medium soft
MODERATO
MULTIPLE MEASURE REST Indicates more than one
( 1770-1827)
measure of rest
BILLlNGS, WILLlAM
American composer (1746-1800)
NATuRAL
BRAHMS, JOHANNES German composer (1833-1897) BREATH MARK (,)
A suggested place to take a breath
CLARKE, JEREMIAH
English composer (1674-1707)
COMMON TIME
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(C)
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t
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OFFENBACH, JACOUES French composer (1819-1880) ORCHESTRATION Choosing which instruments playa
section of music PIANO ( p )
DIVISI
Get softer gradually
D.S.
The end of a section of music
(DAL SEGNO) AL FINE
ANTONIN
Czech composer (1841-1904)
DVNAMIC MARKINGS
Symbols that indicate loudness
or softness of the music ELGAR, EDWARD
ROUND
Gradually slow down the tempo
Playing the same music beginning at
difterent times SHARP
A composition with ~arts for two players
DvoRÁK,
Play the music again from the beginning
RITARDANDO (RITJ
Go back to the sign ~
and play until Fine DUET
REPEAT SIGN
ROSSINI, GIOACCHINO Italian composer (1792-1868)
play the bottom notes
11)
Note(s) preceding the first
full measure
Some players play the top notes while others
DOUBLE BAR (
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PICK-UP NOTE(s)
and play until Fine
===-)
(q) Cancels a flat or sharp until the next
bar line
time signature
Get louder gradually
(DA CAPO) AL FINE
DIMINUENDO (
Austrian composer
(1756-1791)
BEETHOVEN, LUDWIG VAN German composer
D.C.
Medium tempo
MOZART, WOLFGANG A.
the staff is the note F
CRESCENDO (
The distance between two bar lines
(#) 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
English composer (1857-1934)
American composer
( 1854-1932)
FERMATAaZYXWVUTSRQPONMLKJIHGFEDCBA (1 ':''\) Hold the note longer
STACCATO ( .)
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STAFF 5 lines and 4 spaces used for writing music
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STRAUSS, JOHANN JR.
ending FLAT (~)
Play the note 1f2 its normal length
Austrian composer
( 1825-1899) Lowers the pitch of a note one half step
SVNCOPATION Starting a note that is one beat or longer
on U&"
FORTEVUTSRQPONMLKJIHGFEDCBA (f) Loud FOSTER, STEPHEN American composer (1826-1864) GLlERE, REINHOLD GRIEG, EDVARD
Norwegian composer (1843-1907)
TEMPO MARKINGS
HAVDN, FRANZ JOSEPH Austrian composer
Terms which indicate the speed of
the music
English composer of German
birth (1685-1759)
1. Russian composer
( 1840-1893)
Russian composer (1875-1956)
HANDEL, GEORGE F.
TIE
Joins two notes of the same pitch to make one long note
TIME SIGNATURE Indicates how many beats are in each
( 1732-1809) HUMPERDINCK, ENGELBERT German composer
(1854-1921
TCHAIKOVSKV, PETER
)
INTERNAL REPEAT Repeat only the music between
the signs KEV SIGNATURE Indicates notes which are to be
flatted or sharped throughout LARGO Very slow
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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