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PERUSAL BOOK 3 PERUSAL BOOK 3 INTERMEDIATE TO ADVANCED STUDIES TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Percussion consultant and editor WILL RAPP PERUSAL BOOK FORMAT This book is designed to give you an overview of Essential Technique for Band Book 3. Throughout this book you will find every exercise and page from the book, from the conductor book as well as a mixture of various student books. A variety of instruments were chosen to offer a sampling of how each instrument is approached. Instruments are notated on each page as they change throughout the book. ESSENTIAL ELEMENTS INTERACTIVE Essential Elements Conductor and Student Books come with a wealth of tools and resources online! Be sure to check out www.essentialelementsinteractive.com for more information. EEi works with these platforms: Copyright © 2004 by HAL LEONARD LLC International Copyright Secured All Rights Reserved EE BAND PERUSAL BOOK 3: CONDUCTOR 6 SEQUENCE OF Director 1 12–17 18–24 25–27 28–34 35–41 42–47 48–51 52–56 57–63 64–67 68–71 Page Student Page 1 2 3 4 5 6 7 8 9 10 11 12 3 3 Rhythm Rap, Rhythm Rhythm Rhythm Rhythms œ ‰œ3 œ œ ‰ Sixteenth Rap Rap Rap , Notes Rhythm‰ œ œ Rap and Rests Minor Triplets Theory 3 9 Keys 12 with Rests 8 , 8 8 Handel, Native Johann Claude History Baroque American Strauss Jr. Debussy Period Music Tempo Lento, Lento Terms div., Maestoso di Valse, Giocoso molto Mysterioso a2 Operetta Concert B Major, Concert Concert E Major, Concert Concert F Major, Special Title Chorale,b A Minor, Chorale,b C Minor, Chorale, EE Quiz Features Page Chromatic Scale EE Quiz Chromatic Scale EE Quiz Chromatic Scale Note Sequence œ# œ œ# Flute œ# & Oboe œ# œ# & Enharmonic œ# œ œ# Bassoon ? œ# œb Enharm. œb œ œb œ œ œ# œb B¯ Clarinet œ# œ# œb & œb œ# œ# E¯ Alto Clar. œ œ# œb & œb œb œ# œb Enharm. œb Enharm. B¯ Bass Clar. œ œ# œb œ# œb & œ# œb œb œ# œ œ# Enharm. œb E¯ Alto Sax. œb œb œ# & œb œb œ# œb œb œ œ œ B¯ T. Sax. œb œ# œb & Alt. œb œ# œ Enharm. œ œ# œb E¯ Bar. Sax. œb œb œb œ# & œb œb œ# œb œ Tpt. B¯ Trumpet œ œ# œb Bar. T.C. œb œ# & œb œb œ# œ# œ œ# F Horn œ œ# œ# œ# & œ# œb (- Bass) Trombone œb œ œ# Bar. B.C. œ# œ# E. Bass ? œ# œ# Tuba ? œ œ# œ# œ# Kybd. Perc. œ# & œ# Percussion Techniques 16th Note Five Stroke Roll Flam Accent Reverse / Rhythm Nine Stroke Roll No. 2 Paradiddle Review New Perc. Instruments Tam-Tam Concert (Gong) Tom-Toms Anvil (Brake Drum) EE BAND PERUSAL BOOK 3: CONDUCTOR 7 ESSENTIAL TECHNIQUE Director 72–77 78–84 85–89 90–93 94–99 100–105 106–109 110–113 114–120 121–127 128–132 133–137 Page Student Page 13 14 15 16 17 18 19 20 21 22 23 24 3 Rhythm Rhythm Rhythms , Rap Rap Rhythmœ œ œ Rap Quarter Grace Meter Theory Note Note Changes 5 Triplets 4 Star Black African Late 19th Cent. Handel, History Spangled American Folk French Baroque Banner Spirituals Music Composers Period Allegro Andante Terms Agitato Espressivo Vivo ƒ Grazioso π Concert Concert A Major, Concert Concert C Major, Concert D Major, Special Concert D Minor, Chorale,b F Minor, Chorale, Duet Chorale,b EE Quiz Features A Minor EE Quiz Chromatic Scale EE Quiz Chromatic Scale Chromatic Scale Note Sequence bœ Flute & #œ œ #œ Enharm. Oboe œ & bœ #œ bœ Bassoon ? bœ #œ bœ #œ Alt. Alt. œ #œ œ œ #œ bœ B¯ Clarinet #œ & Enharm. E¯ Alto Clar. œ œ #œ bœ #œ & Enharm. B¯ Bass Clar. bœ #œ bœ & #œ #œ œ œ #œ bœ œ bœ Enharm. E¯ Alto Sax. bœ #œ #œ & Alt. Enharm. Alt. #œ Enharm.œ bœ #œ bœ #œ bœ Enharm. Enharm. B¯ T. Sax. #œ & #œ bœ bœ #œ bœ #œ œ œ #œ bœ œ Enharm. E¯ Bar. Sax. bœ #œ & Alt. Enharm. Alt. #œ #œ bœ #œ bœ B¯ Trumpet bœ bœ Bar. T.C. #œ & Enharm. #œ F Horn #œ & (- Bass) Enharm. #œ bœ œ œ Trombone #œ bœ bœ #œ Bar. B.C. #œ E. Bass ? Bass Tuba ? bœ #œ #œ #œ Kybd. Perc. #œ & Ex. 1 bœ #œ R R R R Ex. 2 Percussion Techniques œœœ œœœ œœœ œ Inward 2 œ œ œ œ œ œ / Four Stroke Ruff Paradiddle œ œ‰ œ œ ‰ 4 L L L L New Perc. Four Stroke Ruff Instruments Brushes Agogo Finger Bells Cymbals EE BAND PERUSAL BOOK 3: CONDUCTOR 8 SEQUENCE OF Director 138–142 143–149 150–155 156–161 162–167 168–173 174–179 180–189 180–189 190–196 197–201 202–209 Page Student Page 25 26 27 28 29 30 31 32 33 34 35 36 Rhythms D.C. al Coda/ Theory Ostinato D.S. al Coda Nationalism/ Native Latin American Gustav History Composers, Japanese Music, Holst Renaissance Period Instruments Romantic Period Marziale, Terms Animato Concert D Major, Concert G Major, Concert Concert G Major, Reading Reading Special Concert Chorale, Chorale,b Individual Individual B Minor, Chorale, Skill Skill Chorales Features E Minor Chromatic Scale, Chromatic Scale, Studies Studies Duet/Triob Chromatic Scale Builders Builders Concert B Minor Concert E Major b Note Sequence bœ #œ #œ bœ Flute #œ & Alt. Oboe & bœ #œ Bassoon bœ #œ bœ ? bœ #œ œ #œ B¯ Clarinet #œ & #œ #œ E¯ Alto Clar. & #œ ‹œ #œ bœ B¯ Bass Clar. #œ & #œ #œ #œ #œ E¯ Alto Sax. ‹œ #œ & #œ B¯ T. Sax. #œ & #œ #œ E¯ Bar. Sax. ‹œ #œ & #œ Bar. B¯ Trumpet Bar. T.C. #œ & #œ #œ #œ F Horn bœ #œ & (- Bass) (- Bass) Trombone Bar. B.C. bœ #œ #œ bœ E. Bass ? #œ bœ #œ œ Tuba ? bœ #œ bœ bœ #œ œ Kybd. Perc. #œ & bœ œ œ #œ or or Percussion j j jr Techniques Delayed œCrushed@. œ@ Ruffœ@ œ Thirteen Seven Drag Paradiddle No. 1 / Paradiddle Stroke Roll Stroke Roll Drag Paradiddle No. 2 Seventeen Lesson 25 Stroke Roll Single Ratamacue Triple Ratamacue New Perc. Instruments EE BAND PERUSAL BOOK 3: CONDUCTOR 9 ESSENTIAL TECHNIQUE Director 210–217 218 219 220–223 224–229 230–234 235–240 241–244 245–261 262–299 262–299 300–301 Page Student Page 37 38 39 40 41 42 43 44 45 46 47 48 Rhythms Theory History Terms Woodwinds: Fingering Fingering Trill Chart, Chart, Chart, Special Rhythm Rhythm Basics of Basics of Major Major Minor Reference Chorales Brass: Percussion Percussion Features Studies Studies Jazz Style Jazz Style Scales Scales Scales Index Special Exercises, Rudiment Rudiment Bass: Bass Tips Chart Chart STUDENT BOOKS (with EE Library) 00862617 FLUTE 00862618 OBOE 00862619 BASSOON 00862620 B CLARINET b 00862621 E ALTO CLARINET b 00862622 B BASS CLARINET b 00862623 E ALTO SAXOPHONE b 00862624 B TENOR SAXOPHONE b 00862625 E BARITONE SAXOPHONE b 00862626 B TRUMPET b 00862627 F HORN 00862628 TROMBONE 00862629 BARITONE (B.C.) 00862630 BARITONE (T.C.) 00862631 TUBA 00862632 ELECTRIC BASS 00862633 PERCUSSION (incl. Keyboard) EE BAND PERUSAL BOOK 3: CONDUCTOR 10 USING SPECIAL STUDIES SECTION Starting on page 32 of each student book, the Special ESSENTIAL Studies section includes several categories for individual TECHNIQUE and group use: Essential Technique is a multipurpose book for band musicians that can be used with full band, like-instrument classes, or Individual Studies – Student pages 32–33 by individuals. It can serve as a technique-building tool for Specially designed individual instrument studies explore any band program or function as Book 3 of the Essential useful techniques that are commonly associated with each Elements comprehensive method. Concepts, new notes, instrument, such as alternate fingerings, lip slurs, etc. They and musical terms introduced in Essential Technique follow also provide an opportunity to develop the concepts of the pedagogy of Essential Elements Books 1 and 2. expression, articulation, ornamentation, and tonguing. Each Play-along track features a professional player demonstrating The Conductor Book includes all music and text from the the etudes. (Not included on the Conductor CD.) students’ books. As in the student books, the introduction of a new concept is always highlighted by a color box. Reading Skill Builders – Student pages 34–35 These etudes are carefully written to improve reading KEY CENTERED SYSTEM skills, or may be used to assess sight-reading ability. They Essential Technique is organized with sections featuring incorporate various rhythms, keys, and musical styles to 9 major keys and their related minor keys. Each major key further strengthen the student’s musical aptitude. These is introduced with a scale exercise, short etudes, and also skill builders can be used with full band or individuals. includes a chromatic scale. The Play-along tracks include a piano accompaniment without a melody cue. The Balance Builder is designed to teach balance within triadic chord structures and is best suited to small like-instrument lessons or small mixed ensembles. Chorales – Student pages 36–37 The full band Chorale found at the bottom of each major Seven full-length chorales arranged by John Higgins can key page (in the student books) is written to develop the work as a warm-up, for balance and intonation study, or full band sonority in the featured key. Each instrument part for a performance. is written to included ALL scale degrees of the key, i.e., all players play every note of the major scale within the chorale.
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  • Primary Sources: an Examination of Ira Gitler's

    Primary Sources: an Examination of Ira Gitler's

    PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.