TRADITION of EXCELLENCE Excellence in Performance—Grading Guidelines

TRADITION OF EXCELLENCE Excellence In Performance—Grading Guidelines

Te following pages outline the criteria used to determine grade level and page correlation in the Excellence In Performance concert band repertoire series from the Neil A. Kjos Music Company.

Consult the Scope and Sequence charts in the teacher scores of Tradition of Excellence Books 1, 2, and 3.

Choose the page in Tradition of Excellence (ToE), that most closely matches the ability level of the composition in question. One or two new notes or concepts can be introduced in the composition without issue. If more concepts need to be taught, it would perhaps be beter to fnd a diferent page correlation.

Te grade level of a piece is determined by the correlated page in ToE. For example, a composition that correlates to any page between ToE Book 1, page 23 and ToE Book 2, page 9 (inclusive) would be considered a grade 1½.

Final determination of the grade level will be made by the editors at the Neil A. Kjos Music Company.

Correlation: TOE Book 1, page 13. Please see chart and use only those notes and concepts introduced in TOE by that page. Length: Approx 1:00–1:30 (number of measures determined by tempo and time signature) Source: Original composition preferred. Anything based of of pre-existing material (classical transcription, folk song) must have the original source sent in with it to determine copyright status. Style: Concert piece appropriate for contest and festival. Form: To be determined by the composer. Please consider including a percussion section soli. Time Sig: C, 4/4, 2/4 Tempo: Only tempi used up to the correlated TOE Book 1 page may be used. Speed not to exceed q=100. Keys: Bb Major or No Key Signature for all (use accidentals accidentals). Instrumentation: 1 Flute 1 Oboe 1 Bb Clarinet 1 Eb Alto Clarinet 1 Bb Bass Clarinet 1 Bassoon 1 Eb Alto Saxophones 1 Bb Tenor Saxophone 1 Baritone Saxophone 1 Bb Trumpets/Cornets 1 F Horn 1 Trombone 1 Baritone (Baritone T.C. part supplied, but not included in score) (Bassoon, Trombone, and Baritone parts may be combined on the same staf) 1 Tuba 1 Electric Bass (part supplied, but not included in score) Timpani (must be optional, using tonic and dominant notes only.) Percussion: 1 Bells 1 S.D./B.D. part correlated with page 1 S.D./B.D. part advanced (B.D. is the same). Works simultaneously with correlated part. Auxiliary Percussion instruments used as long as they have been introduced by the correlated page in TOE Book 1. 1 Rehearsal Piano Rhythmic restrictions: No more than two musical ideas at one time in the wind parts, one idea is preferred, percussion may be separate. Specifc rhythms: w W h H q Q hT|q Range restrictions: Only 7 pitches (Concert, A, Bb, C, D, Eb, F, G). Horns: Supply a High and a Low part. General requirements: • Use template from Kjos Music is using Finale. • Melody in all parts at some point in work • No long rests (multimeasure rests). Use single measure rests. • One bass line played by bass clarinet, bassoon, bari sax, trombone, baritone, and tuba. • Trombone, Baritone, Bassoon may share a part. • Te piece should be playable (sound harmonically complete) with just the following instruments: Flute, Clarinet, Alto Saxophone, Trumpet, Trombone. Assume the following instruments may not be present or are very weak in performance: oboe, alto clarinet, bass clarinet, tenor sax, bari sax, horn, baritone, and tuba. • Cross-score every voice, and double and triple cross score traditionally weak instruments mentioned above. • Avoid the use of cues • Include Rehearsal Piano part on score (part should be simple extraction of work; no more than two notes in each hand at any time.) • Include notation fle if scored using Finale or Sibelius. © 2014 Neil A. Kjos Music Company. All rights reserved. Excellence In Performance—Grade Guidelines Grade 1

Correlation: TOE Book 1, page 22. Please see chart and use only those notes and concepts introduced in TOE by that page, plus Concert E-Natural Length: Approx 1:30–2:00 (number of measures determined by tempo and time signature) Source: Original composition preferred. Anything based of of pre-existing material (classical transcription, folk song) must have the original source sent in with it to determine copyright status. Style: Concert piece appropriate for contest and festival. Form: To be determined by the composer. Please include a percussion section soli. Time Sig: C, 4/4, 3/4, 2/4 Tempo: Only tempi used up to the correlated TOE Book 1 page may be used. Speed not to exceed q=112. Keys: Only keys used up to the correlated TOE Book 1 page may be used, (i.e. Bb Major, Eb Major, F Major). Instrumentation: 2 Flutes (separate parts or one part with divisi as needed) 1 Oboe 2 Bb Clarinets (separate parts or one part with divisi as needed) 1 Eb Alto Clarinet 1 Bb Bass Clarinet 1 Bassoon 2 Eb Alto Saxophones (separate parts or one part with divisi as needed) 1 Bb Tenor Saxophone 1 Baritone Saxophone 2 Bb Trumpets/Cornets (separate parts or one part with divisi as needed) 1 F Horn 1 Trombone 1 Baritone (Baritone T.C. part supplied, but not included in score) (Bassoon, Trombone, and Baritone may be combined on the same staf) 1 Tuba 1 Electric Bass (part supplied, but not included in score) Timpani (must be optional, using tonic and dominant notes only) Percussion: 1 Bells 1 S.D./B.D. part correlated with page 1 S.D./B.D. part advanced (B.D. is the same). Works simultaneously with correlated part. Auxiliary Percussion instruments used as long as they have been introduced by the correlated page in TOE Book 1. 1 Rehearsal Piano

Rhythmic restrictions: Only two musical ideas at one time in the wind parts, percussion may be separate. Instrument sections&1st & 2nd Flutes, 1st & 2nd Clarinets, etc.&must have same rhythms. Specifc rhythms Winds: w h. h q q.e qrrr Specifc rhythms Perc: add eEeE qttt and rudiments learned. Range restrictions: Clarinet parts should not cross the break (go higher than writen Bb on the middle line.) General requirements: • Use template from Kjos Music is using Finale. • Melody in all parts at some point in work • One bass line played by bass clarinet, bassoon, bari sax, trombone, baritone, and tuba. • Assume the following instruments may not be present or are very weak in performance: oboe, alto clarinet, bass clarinet, tenor sax, bari sax, French horn, baritone, and tuba. • Cross-score every voice, and double and triple cross score traditionally weak instruments mentioned above. • Avoid the use of cues • Include Rehearsal Piano part on score (part should be simple extraction of work; no more than two notes in each hand at any time.) • Include notation fle if scored using Finale or Sibelius.

Correlation: TOE Book 1, page 23 through TOE Book 2, page 9. Please see chart and use only those notes and concepts introduced in TOE by that page. Length: Approx. 2:00–2:30 (number of measures determined by tempo and time signature). Source: Original composition preferred. Anything based of of pre-existing material (classical transcription, folk song) must have the original source sent in with it to determine copyright status. Style: Concert piece appropriate for contest and festival. Form: To be determined by the composer. Please include a percussion section soli. Please include contrasting slow section. Time Sig: C, 4/4, 3/4, 2/4 Tempo: Only tempi used up to the correlated page may be used. Speed not to exceed q=120. Keys: Only keys used up to the correlated page may be used, (i.e. Bb Major, g minor, Eb Major, c minor, F Major or modes in these keys). Instrumentation: 2 Flutes (separate parts or one part with divisi as needed) 1 Oboe 2 Bb Clarinets (separate parts or one part with divisi as needed) 1 Eb Alto Clarinet 1 Bb Bass Clarinet 1 Bassoon 2 Eb Alto Saxophones (separate parts or one part with divisi as needed) 1 Bb Tenor Saxophone 1 Baritone Saxophone 2 Bb Trumpets/Cornets (separate parts or one part with divisi as needed) 2 F Horn 1 Trombone 1 Baritone (Baritone T.C. part supplied, but not included in score) 1 Tuba 1 Electric Bass (part supplied, but not included in score) Timpani (must be optional, using tonic and dominant notes only) Percussion: 1 Bells 1 S.D./B.D. part correlated with page Auxiliary Percussion instruments used as long as they have been introduced by the correlated page in TOE Book 1. 1 Rehearsal Piano

Rhythmic restrictions: As much as possible, ensure that instrument sections&1st & 2nd Flutes, 1st & 2nd Clarinets, etc.&play the same rhythms. Specifc rhythms Winds: w h. h q q.e qrrr eq⇧⇧e Specifc rhythms Perc: add eEeE qttt qrt qtr and rudiments learned. Range restrictions: 2nd & 3rd Clarinet parts should not cross the break (go higher than writen Bb on the middle line.) General requirements: • Use template from Kjos Music is using Finale. • Melody in all parts at some point in work • One bass line played by bass clarinet, bassoon, bari sax, trombone, baritone, and tuba. • Assume the following instruments may not be present or are very weak in performance: oboe, alto clarinet, bass clarinet, tenor sax, bari sax, French horn, baritone, and tuba. • Cross-score every voice, and double and triple cross score traditionally weak instruments mentioned above. • Avoid the use of cues • Include Rehearsal Piano part on score (part should be simple extraction of work; no more than two notes in each hand at any time.) • Include notation fle if scored using Finale or Sibelius.

Correlation: TOE Book 2, page 10 through TOE Book 2, page 28. Please see chart and use only those notes and concepts introduced in TOE by that page. Length: Approx. 2:30–3:00 (number of measures determined by tempo and time signature). Source: Original composition preferred. Anything based of of pre-existing material (classical transcription, folk song) must have the original source sent in with it to determine copyright status. Style: Concert piece appropriate for contest and festival. Form: To be determined by the composer. Please consider including a percussion section soli. Please include contrasting slow section. Time Sig: C, 4/4, 3/4, 2/4 Tempo: Only tempi used up to the correlated page may be used. Speed not to exceed q=132. Keys: Only keys used up to the correlated page may be used, (i.e. Bb Major, g minor, Eb Major, c minor, F Major, Ab Major or modes in these keys). Instrumentation: 2 Flutes 1 Oboe 3 Bb Clarinets 1 Eb Alto Clarinet 1 Bb Bass Clarinet 1 Bassoon 2 Eb Alto Saxophones 1 Bb Tenor Saxophone 1 Baritone Saxophone 2 Bb Trumpets/Cornets 2 F Horn 2 Trombone 1 Baritone (Baritone T.C. part supplied, but not included in score) 1 Tuba 1 Electric Bass (part supplied, but not included in score) Timpani Percussion: 1 Bells 1 S.D./B.D. part correlated with page Auxiliary Percussion instruments used as long as they have been introduced by the correlated page in TOE Book 1. 1 Rehearsal Piano

Rhythmic restrictions: As much as possible, ensure that instrument sections&1st & 2nd Flutes, 1st & 2nd Clarinets, etc.&play the same rhythms. Specifc rhythms Winds: w h. h q q.e qrrr eq⇧⇧e qttt q;.u qsr Specifc rhythms Perc: add eEeE qttt qrt qtr and rudiments learned. Range restrictions: 2nd & 3rd Clarinet parts should not cross the break (go higher than writen Bb on the middle line.) General requirements: • Use template from Kjos Music is using Finale. • Melody in all parts at some point in work • One bass line played by bass clarinet, bassoon, bari sax, trombone, baritone, and tuba. • Assume the following instruments may not be present or are very weak in performance: oboe, alto clarinet, bass clarinet, tenor sax, bari sax, French horn, baritone, and tuba. • Cross-score every voice, and double and triple cross score traditionally weak instruments mentioned above. • Avoid the use of cues • Include Rehearsal Piano part on score (part should be simple extraction of work; no more than two notes in each hand at any time.) • Include notation fle if scored using Finale or Sibelius.

Correlation: TOE Book 2, page 28 through TOE Book 3, page 9. Please see chart and use only those notes and concepts introduced in TOE by that page. Length: Approx. 3:00–4:00 (number of measures determined by tempo and time signature). Source: Original composition preferred. Anything based of of pre-existing material (classical transcription, folk song) must have the original source sent in with it to determine copyright status. Style: Concert piece appropriate for contest and festival. Form: To be determined by the composer. Please consider including a percussion section soli. Please include contrasting slow section. Time Sig: C and Cut, 4/4, 3/4, 2/4, 6/8 Tempo: Only tempi used up to the correlated page may be used. Speed not to exceed q=144. Keys: Only keys used up to the correlated page may be used, (i.e. Bb Major, g minor, Eb Major, c minor, F Major, Ab Major or modes in these keys). Instrumentation: 2 Flutes 1 Oboe 3 Bb Clarinets 1 Eb Alto Clarinet 1 Bb Bass Clarinet 1 Bassoon 2 Eb Alto Saxophones 1 Bb Tenor Saxophone 1 Baritone Saxophone 3 Bb Trumpets/Cornets 2 F Horn 2 Trombone 1 Baritone (Baritone T.C. part supplied, but not included in score) 1 Tuba 1 Electric Bass (part supplied, but not included in score) Timpani Percussion: 1 Bells 1 S.D./B.D. part correlated with page Auxiliary Percussion instruments used as long as they have been introduced by the correlated page in TOE Book 1. 1 Rehearsal Piano

Rhythmic restrictions: As much as possible, ensure that instrument sections&1st & 2nd Flutes, 1st, 2nd, & 3rd Clarinets, etc.&play the same rhythms. Specifc rhythms Winds: w h. h q q.e qrrr eq⇧⇧e qttt q;.u qsr Specifc rhythms Perc: add eEeE qttt qrt qtr and rudiments learned. Range restrictions: 3rd Clarinet part should not cross the break (go higher than writen Bb on the middle line.) General requirements: • Use template from Kjos Music is using Finale. • Melody in all parts at some point in work • One bass line played by bass clarinet, bassoon, bari sax, trombone, baritone, and tuba. • Assume the following instruments may not be present or are very weak in performance: oboe, alto clarinet, bass clarinet, tenor sax, bari sax, French horn, baritone, and tuba. • Cross-score every voice, and double and triple cross score traditionally weak instruments mentioned above. • Avoid the use of cues • Include Rehearsal Piano part on score (part should be simple extraction of work; no more than two notes in each hand at any time.) • Include notation fle if scored using Finale or Sibelius.

Correlation: TOE Book 3, page 10 through TOE Book 3, page 29. Please see chart and use only those notes and concepts introduced in TOE by that page. Length: Approx. 4:00–4:30 (number of measures determined by tempo and time signature). Source: Original composition preferred. Anything based of of pre-existing material (classical transcription, folk song) must have the original source sent in with it to determine copyright status. Style: Concert piece appropriate for contest and festival. Form: To be determined by the composer. Please consider including a percussion section soli. Please include contrasting slow section. Time Sig: C and Cut, 4/4, 3/4, 2/4, 3/8, 6/8, 9/8, 12/8 (use of 5/8, 7/8 constitute a grade 3½.) Tempo: Only tempi used up to the correlated page may be used. Speed not to exceed q=156. Keys: Only keys used up to the correlated page may be used, (i.e. Bb Major, g minor, Eb Major, c minor, F Major, Ab Major or modes in these keys). Instrumentation: 2 Flutes 1 Oboe 3 Bb Clarinets 1 Eb Alto Clarinet 1 Bb Bass Clarinet 1 Bassoon 2 Eb Alto Saxophones 1 Bb Tenor Saxophone 1 Baritone Saxophone 3 Bb Trumpets/Cornets 2 F Horn 3 Trombone 1 Baritone (Baritone T.C. part supplied, but not included in score) 1 Tuba 1 Electric Bass (part supplied, but not included in score) Timpani Percussion: 1 Bells 1 S.D./B.D. part correlated with page Auxiliary Percussion instruments used as long as they have been introduced by the correlated page in TOE Book 1. 1 Rehearsal Piano

Te page numbers listed below are guideposts to help determine the difculty level of a piece. Te correlation pages shown are where the band arrangements occur within the curriculum of the method books. Compositions in the Excellence In Performance series will be selected by how well they ft in the established curriculum. Ideally, these compositions could replace the existing music on that page without causing any pedagogical problems. It is possible for a selection to correlate with a page not listed, as long as the students are only asked to play notes and understand the concepts listed up to that page.

To assist your composing, please refer to the Range Charts detailing the notes students have learned. Te charts also include the auxiliary percussion instruments introduced. For all other concepts, please consult the Scope and Sequence Charts for each book.

Grade Book 1 Book 2 Book 3 ½ Page 12

1 Page 20

1½ Page 33 Page 8 (end of review)

2 Page 11 (maybe still 1½?)

2 Page 22

2½ Page 34 Page 9 (end of review)

3 Page 11 (maybe still 2½?)

3 Page 20

3½ Page 30

Fl. &h!qw´rt Ob. &h!qw´rt Cl. & B. Cl.

&masdfgh Percussion: S.D. (snares on/of, on rim) Alto Cl. B.D. &Vbnmasd Suspended Cymbal Triangle Bsn. Sleigh Bells ?f©hjœwe Wood Block Claves A. & B. Sax. &Fghjqwe Tenor Sax. &jqwerty Tpt. &masdfgh High Horn &sdfgh!qw Low Horn &vbnµasd Trb. ?f©hjœwe Bar. ?f©hjœwe Tuba E. Bass ?v∫nmåsd ?f©hjœwe Mallets Timp. (2 drums) opt. &nµas∂fg ?s©hœw

Fl. &h!qw´rt¥ Ob. &h!qw´rt¥ Cl. & B. Cl. &masdfgh! Percussion (no rolls): S.D. (snares on/of, on rim) Alto Cl. B.D. Suspended Cymbal &Vbnµmasdf Triangle Bsn. Sleigh Bells Wood Block ?f©hjœwe® Claves

A. & B. Sax. Tambourine &Fgh!jqwer Maracas Cowbell Tenor Sax. &jqwerty¨ Tpt. &masdfgh! Horn &µas∂dfgh!qw Trb. ?f©hjœwe® Bar. ?f©hjœwe® Tuba ?v∫nmåsdƒ E. Bass Timp. (2 drums) opt. ?f©hjœwe® ?s©hœw Mallets &nµas∂fg˙h!qw´rt¥

Fl. &˙h!qw´rt¥y¨ Ob. &fg˙h!qw´rt¥y¨ Cl. & B. Cl. &bnµmasdfgh! Percussion (no rolls): Alto Cl. S.D. (snares on/of, on rim) &vVbnµmasdfFgh B.D. Suspended Cymbal Bsn. Triangle ?ƒf©hjœwe®r† Sleigh Bells Wood Block A. & B. Sax. Claves &sdfFgh!jqwerRt Tambourine Maracas Tenor Sax. Cowbell &gh!jqwerty¨u1 Tpt. &µmasdfgh!jq High Horn &s∂dfgh!qw Low Horn &vbnµas∂d Trb. ?ƒf©hjœwe®r† Bar. ?ƒf©hjœwe®r† Tuba ?√v∫nmåsdƒf© E. Bass ?ƒf©hjœwe®r† Mallets &˜nµas∂fg˙h!qw´rt¥y¨ Timp. (2 drums) opt. ?s©hœw

Fl. &s∂fFg˙h"qwérRt¥y¨1 Ob. &s∂dfFg˙h"qwérRt¥y¨1 Cl. & B. Cl. &cvbnµmasdfFgh"jqwert Alto Cl. &cvVbBnµmasdfFghjqQwWerRty Bsn. ?dƒf©hjœqwWe®r†y A. & B. Sax. &asdfFgh"jqQwerRtyu1 Tenor Sax. &asdfFgh"jqwerRtyü12

Tpt. Percussion: &nµmasdfFgGh"jqw S.D. (rolls, snares on/of, on rim) B.D. Horn Suspended Cymbal (rolls) &µaAs∂dfFgh"jqQw Triangle Sleigh Bells Trb. Wood Block ?dƒf©hjœqwWe®r†y Claves Tambourine Bar. Maracas ?dƒf©hjœqwWe®r†y Cowbell Tuba Crash Cymbals ?c√v∫nmåasSdƒf©h E. Bass ?sdƒf©hjœqwWe®r†y Mallets (rolls) &˜nµas∂dfFg˙h"qw´erRt¥y¨ Timp. (2 drums) opt. ?s©hœw

Fl. &s∂fFg˙h"qwérRt¥y¨1 Ob. &s∂dfFg˙h"qwérRt¥y¨1 Cl. & B. Cl. &cvbBnµmasdfFgGh"jqwerRtTy Alto Cl. &cvVbBnµmasSdfFghjqQwWerRty Bsn. ?dƒf©hjœqwWe®r†y A. & B. Sax. &asdfFgh"jqQwerRtyu1 Tenor Sax. &asdfFgGh"jqwerRtTyü12 Tpt. &nµmasdfFgGh"jqw Horn &µaAs∂dfFgh"jqQw Percussion: S.D. (rolls, snares on/of, on rim) Trb. B.D. ?dƒf©hjœqwWe®r†y Suspended Cymbal (rolls) Triangle Bar. Sleigh Bells ?dƒf©hjœqwWe®r†y Wood Block Claves Tuba Tambourine Maracas ?c√v∫nmåasSdƒf©h Cowbell E. Bass Crash Cymbals ?sdƒf©hjœqwWe®r†y Mallets (rolls) &ñµas∂dfFg˙h"qwérRt¥y¨ Timp. (2 drums) opt. ?s©hœw

Fl. &s∂dƒfF©g˙h"jœq∑wérRt¥yü1™2£ Ob. &s∂dƒfF©g˙h"jœq∑wérRt¥yü1 Cl. &cvVbBñµmaAßs∂dfF©gG˙h"jqQwérRtT¥yü1 Alto Cl. &cvVbBñNµmaßsS∂dfFgG˙hH"jqQ∑wWérRty¨ Bass Cl. &çcvVbBñµmaAßs∂dfF©gG˙h"jqQwérRtT¥yü1 Bsn. ?dƒf©g˙hH"jœq∑wWé®r†tyYu¡ A. & B. Sax. &asSdfFgG˙hH"jqQ∑wWérRtTyü1 Tenor Sax. &aAßsS∂dfF©gG˙h"jqQ∑wérR†tT¥yü12 Tpt. &nµmaAßs∂dfF©gG˙h"jqQ∑wWé† Horn &V∫bBñµåaAßs∂dfF©gG˙h"jœqQ∑w´ Trb. ?dƒf©g˙hH"jœq∑wWé®r†tyYu Bar. ?dƒf©g˙hH"jœq∑wWé®r†tyYu Tuba ?c√v∫bñNµmåaßsS∂dƒf©ghHj Electric Bass ?sdƒf©g˙hH"jœq∑wWé®r†tyYu Mallets (rolls) &bñµmåaAßs∂dƒfF©g˙h"jœqQ∑wé®rR†t¥y¨ Percussion: S.D. (rolls, snares on/of, on rim) Tambourine Timp. (2 drums) B.D. Maracas ?dƒ©hjœw Suspended Cymbal (rolls) Cowbell Triangle Crash Cymbals Sleigh Bells Finger Cymbals Wood Block Rainstick Claves © 2014 Neil A. Kjos Music Company. All rights reserved. ToE Book 2, page 34 ranges or Book 3, page 9

Fl. &aAßs∂dƒfF©g˙h"jœq∑wérRtT¥yYü1™2£ Ob. &aAßs∂dƒfF©gG˙hH"jœq∑wérRt¥yü1 Cl. &cvVbBñµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü1 Alto Cl. &çcvVbBñNµmaßsS∂dfF©gG˙hH"jqQ∑wWérRtTyü1 Bass Cl. &çcvVbBñµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü1 Bsn. ?sdƒf©g˙hH"jœq∑wWéE®rR†tyYu¡ A. & B. Sax. &asSdfFgG˙hH"jqQ∑wWérR†tTyü1 Tenor Sax. &aAßsS∂dfF©gG˙hH"jqQ∑wérR†tT¥yü1!2 Tpt. &nµmaAßs∂dfF©gG˙hH"jqQ∑wWér† Horn &V∫bBñµåaAßsS∂dfF©gG˙h"jœqQ∑wér Trb. ?dƒf©g˙hH"jœq∑wWéE®rR†tyYu¡ Bar. ?dƒf©g˙hH"jœq∑wWéE®rR†tyYu¡ Tuba ?c√v∫bñNµmåaßsS∂dDƒfF©ghHjœ Electric Bass ?sS∂dDƒf©g˙hH"jœq∑wWéE®r†tyYu¡ Mallets (rolls) &bñµmåaAßs∂dƒfF©gG˙hH"jœqQ∑wé®rR†t¥y¨ Percussion: Timp. (2 drums) S.D. (rolls, snares on/of, on rim) Tambourine Hi-hat ?sdƒf©hjœw B.D. Maracas Suspended Cymbal (rolls) Cowbell Triangle Crash Cymbals Sleigh Bells Finger Cymbals Wood Block Rainstick Claves Bar Chimes

Fl. &aAßs∂dƒfF©g˙h"jœq∑wérRtT¥yYü1™2£ Ob. &aAßs∂dƒfF©gG˙hH"jœq∑wérRt¥yü1 Cl. &cvVbBñµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü1™2£ Alto Cl. &çcvVbBñNµmaßsS∂dfF©gG˙hH"jqQ∑wWérRtTyYü1 Bass Cl. &çcvVbBñµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü12£ Bsn. ?nµmasS∂dDƒfF©g˙hH"jJœq∑wWéE®rR†tyYu¡ A. & B. Sax. &µmaAßsSdfFgG˙hH"jqQ∑wWérR†tTyü1 Tenor Sax. &µmaAßsS∂dfF©gG˙hH"jqQ∑wérR†tT¥yü1!2£ Tpt. &nµmaAßs∂dfF©gG˙hH"jqQ∑wWér† Horn &V∫bBñµåaAßsS∂dfF©gG˙h"jœqQ∑wért Trb. ?sSdƒf©g˙hH"jœq∑wWéE®rR†tyYu¡ Bar. ?sSdƒf©g˙hH"jœq∑wWéE®rR†tyYu¡ Tuba ?xXc√v∫bñNµmåaßsS∂dDƒfF©ghHjœ Electric Bass ?sS∂dDƒf©g˙hH"jœq∑wWéE®r†tyYu¡ Mallets &bñµmåaAßs∂dƒfF©gG˙hH"jœqQ∑wé®rR†t¥yü Timp. (3 drums) Percussion: S.D. (snares on/of, on rim) Tambourine Guiro (retuning) ?sdƒf©h"jœw B.D. Maracas Bar Chimes Suspended Cymbal (rolls) Cowbell Castanets Triangle Crash Cymbals Bongos Sleigh Bells Finger Cymbals Wood Block Rainstick Claves

Fl. &aAßs∂dƒfF©gG˙hH"jœq∑wWérRtT¥yYü1™2£345 Ob. &µmaAßs∂dƒfF©gG˙hH"jœq∑wWérRt¥yü1 Cl. &cvVbBñNµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü1™2£ Alto Cl. &çcvVbBñNµmaßsS∂dfF©gG˙hH"jqQ∑wWérRtTyYü1!™2£ Bass Cl. &çcvVbBñNµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü1™2£ Bsn. ?∫bnNµmaAsS∂dDƒfF©g˙hH"jJœq∑wWéE®rR†tyYu¡12 A. & B. Sax. &µmaAßsSdfFgG˙hH"jqQ∑wWérR†tTyü1!™234 Tenor Sax. &µmaAßsS∂dfF©gG˙hH"jqQ∑wérR†tT¥yü1!2@£34 Tpt. &VbBñµmaAßs∂dfF©gG˙hH"jqQ∑wWérRt† Horn &V∫bBñµåaAßsS∂dfF©gG˙hH"jœqQ∑wért Trb. ?asS∂dƒf©g˙hH"jœq∑wWéE®rR†tyYu¡12 Bar. ?asS∂dƒf©g˙hH"jœq∑wWéE®rR†tyYu¡12 Tuba ?zxXçc√v∫bñNµmåaßsS∂dDƒfF©ghHjœqw E. Bass ?asS∂dDƒf©g˙hH"jJœq∑wWéE®r†tyYu¡12 Mallets &bBñNµmåaAßs∂dƒfF©gG˙hH"jœqQ∑wé®rR†tT¥yYü Percussion: Timp. (3 drums) S.D. (snares on/of, on rim) Tambourine Guiro (retuning) ?sSdƒf©gh"jœqw B.D. Maracas Bar Chimes Suspended Cymbal (rolls) Cowbell Castanets Triangle Crash Cymbals Bongos Sleigh Bells Finger Cymbals Wood Block Rainstick Claves

Fl. &aAßs∂dƒfF©gG˙hH"jœq∑wWérRtT¥yYü1™2£34$5%6 Ob. &µmaAßs∂dƒfF©gG˙hH"jœq∑wWérRt¥yü1 Cl. &cvVbBñNµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü1™2£ Alto Cl. &çcvVbBñNµmaßsS∂dDfF©gG˙hH"jqQ∑wWéErRtTyYü1!™2£ Bass Cl. &çcvVbBñNµmaAßs∂dfF©gG˙hH"jqQwérRtT¥yü1™2£ Bsn. ?∫bnNµmaAsS∂dDƒfF©g˙hH"jJœq∑wWéE®rR†tyYu¡12@3 A. & B. Sax. &µmaAßsSdfFgG˙hH"jqQ∑wWéErR†tTyü1!™2@34$ Tenor Sax. &µmaAßsS∂dfF©gG˙hH"jqQ∑wérR†tT¥yü1!2@£34$ Tpt. &VbBñµmaAßs∂dfF©gG˙hH"jqQ∑wWérR†tTy Horn &V∫bBñµåaAßsS∂dfF©gG˙hH"jœqQ∑wért Trb. ?asS∂dƒf©g˙hH"jœq∑wWéE®rR†tyYu¡12@3 Bar. ?asS∂dƒf©g˙hH"jœq∑wWéE®rR†tyYu¡12@3 Tuba ?zxXçc√v∫bñNµmåaßsS∂dDƒfF©ghHjœqwWe E. Bass ?asS∂dDƒf©g˙hH"jJœq∑wWéE®r†tyYu¡12 Mallets &bBñNµmåaAßs∂dƒfF©gG˙hH"jœqQ∑wé®rR†tT¥yYü Timp. (3 drums) Percussion: (retuning) ?sSdƒf©gh"jœqw S.D. (snares on/of, on rim) Tambourine Guiro Shaker B.D. Maracas Bar Chimes Temple Blocks Suspended Cymbal (rolls) Cowbell Castanets Gong/Tam-tam Triangle Crash Cymbals Bongos Sleigh Bells Finger Cymbals Wood Block Rainstick Claves

© 2014 Neil A. Kjos Music Company. All rights reserved. tTradition of Excellence, Book 1 Scope and Sequenceu 9 Student Page 6 7 8 9 10 11 12 13 Score Pages 60–69 70–80 81–94 95–107 108–122 123–133 134–139 140–147 New Concepts staf breath mark Solo one-measure key signature trio (ensemble) measure sight-reading Soli repeat sign accidental introduction & Techniques bar line duet Tuti woodwind & brass: interval theme fnal double bar line harmony repeat sign articulation half step rehearsal numbers music alphabet snares of phrase slur 1st and 2nd endings C insts: accidental round fermata interval composition half step fat perc: articulation

New Rhythms    all except perc:    perc:          Performance instrument identifcation intervals conducting instrument identifcation instrument language ear training concert pitch rhythmic independence ear training identifcation geography Enrichments fat sign rhythmic independence improvisation master performers writing conducting conducting careers in music ear training ear training rhythmic independence consonance writing concert etiquete dissonance

5. Moving Around 12. Cuckoo 20. Go Tell Aunt Rhodie 27. Good King Wenceslas 34. The Frog’s Song 40. San Serení TEST Concert D, E , F Concert D, E , F Concert C, B Solo, Soli, Tuti — Round Concert A 4 whole note b whole note b b common time Concert G phrase half note repeat sign two-measure slur half rest perc: one-measure repeat 4Concert2 B major wind insts: breath mark multiple bounce stroke sign tie b perc: sticking round perc: Flam accent Alternating Flam quarter note quarter rest Single Paradiddle

History & Origin of Flat Sign Musical Styles: Folk Song Spain Foster America Pierpont Bobrowitz Rock England England America Beethoven America Culture Mexico America Carol England Germany Mariachi Musical Styles: Japan Puerto Rico Concerto Grosso Popular Music Classical Romantic

Fl.

Ob. o

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba b

Tuba TC

E. Bass

Mlts.

Aux. Perc. R L R L L Multiple Bounce R L S.D. L Flam R L R R Stroke L R S.D. z B.D. Single Paradiddle W61F 10 Tradition of Excellence, Book 1 Scope and Sequence Student Page 14 15 16 17 18 19 20 21 Score Pages 148–157 158–166 167–178 179–185 186–197 198–203 204–213 214–225 New Concepts improvisation pick-up dynamics tempo chord theme and variation piano, forte Andante closing & Techniques B insts: interval Moderato long rest b half step Allegro accidental mezzo piano, mezzo forte fat accent E insts: natural perc: two-measure repeat sign b fat double stop perc: octave New Rhythms   perc:      

Performance intonation call and response instrument identifcation conducting instrument identifcation concert etiquete concert etiquete instrument identifcation instrument identifcation rhythmic independence rhythmic independence rhythmic independence Enrichments conducting ear training conducting ear training improvisation improvising composing writing writing

47. Baja Breeze 54. Rio Con Brio 59. Bingo Variations 65. I’ve Just Come 72. Theme from TEST eighth note eighth note Concert A From Sydney “The Nutcracker” 4 perc: Flam Paradiddle pick-up b piano, forte mezzo piano Flam Tap Concert Eb major mezzo forte Bb insts: fat 43 accent bsn: half hole technique Andante perc: Flam Paradiddle

History & Ireland America America McGinty Wales America America Jamaica Culture Renaissance Spiritual America America Nowlin Handel America Australia Canada England Pearson Italy Tchaikovsky Pearson Nowlin Waltz Russia Nowlin Musical Styles: Waltz Spiritual Patron

Fl.

Ob.

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba   b 

Tuba TC

E. Bass

  Mlts. 

Aux. Perc. R L L R L R L L R L R L L R R L R L R R L R L R    S.D.    B.D.        Flam Tap Flam Flam Accent Paradiddle W61F Tradition of Excellence, Book 1 Scope and Sequence 11 22 23 24 25 26 27 28 29 30 226–238 239–249 250–264 265–277 278–289 290–301 302–315 316–329 330–343 crescendo whole step All except E insts: All except perc: D.C. al Fine Maestoso ritardando decrescendo major scale sharp b staccato perc: roll a. cl: crossing the cl, b. cl: crossing the break divisi arpeggio courtesy accidental mlt perc roll break perc: double stop roll unison orchestration s. cym roll mlt perc economy All except E insts: SD roll of motion natural b All concepts learned afer page 22 are reintroduced in the frst 7 pages of Tradition of Excellence, Book 2, allowing students who have not completed Book 1 to move on to Book 2.

 perc:  perc:            intonation tonic writing instrument identifcation instrument identifcation instrument identifcation instrument identifcation instrument identifcation instrument identifcation instrument identifcation subdominant instrument identifcation scale construction writing conducting development orchestration Music In Motion conducting dominant ear training ear training rhythmic independence of wind instruments conducting instrument identifcation twelve bar blues ear training scale construction

78. Skill Builder 85. Skill Builder 92. Skill Builder 99. Skill Builder 105. Ronde 110. Trumpet Voluntary 116. Theme from 122. Skill Builder: Happy 128. Amazing Grace crescendo, interval identifcation Concert E wind insts, e. bass: Concert E — Duet “Symphony No. 9” Little Donkey ritardando decrescendo Concert F major staccato Concert F major Maestoso cl, b. cl: writen C, D, — Round f, ob, t. sax, bsn, brass natural B insts, E hns only, cl, b. cl: writen F and duet E, F, G round except Eb hn and F hn, perc: eighth rest F bhns only:b sharp B alt. fngerings# perc: Nine Stroke Roll perc: s. cym roll cl, b. cl: writen B e. bass: Concert C a. cl, a. sax, b. sax: writen c. cyms technique perc: Five Stroke Roll cl, b. cl: crossing the break F alt. fngering right hand down # technique F hn only, Eb hn only: writen D

Handel Ofenbach Italy America Canada McGinty Holst Watson Tchaikovsky England France Sweden Bach Susato America England Texas Russia Mexico China America Germany Belgium Clarke Beethoven America America Schop Twelve Bar Blues Italy Renaissance England Germany China Carnegie Hall France Spiritual Harpsichord 20th Century Musical Review: Bach Dixieland Styles and Sounds Germany Baroque Calypso

+ + o

(Trb. only) (Bsn. only)

(Trb. T.C. only)

   S. Cym.   

  or           Nine Stroke Roll Five Stroke Roll Seventeen Stroke Roll (Quarter Note Roll) (Eighth Note Roll) (Half Note Roll) W61F 12 Tradition of Excellence, Book 1 Scope and Sequence Student Page 31 32 33 34 35 Score Pages 344–353 354–365 366–372 373–382 383–394 New Concepts ternary form trio (march) & Techniques key signature changes

New Rhythms      

Performance instrument identifcation March Form concert etiquete ear training instrument identifcation Enrichments blues composition

134. Skill Builder: Samba-Lêlê 140. Manhattan Beach March 4TEST syncopation comprehensive

History & Mozart Scotland Beethoven Handel America Austria South Africa Germany England Nowlin Culture Sweden England Classical Oratorio Brazil Sousa contradance America Musical Review: America Music History Grainger Periods Te Modern Concert Band Blues March Prodigy Symphony Opera

Fl. 

Ob. 

E A. Cl.  b B Cl. Bb B. Cl.  b E A. Sax. Eb B. Sax.  b B T. Sax. b 

B Tpt. b 

F Hn. 

E Hn. b  Trb. Bar. BC  Bsn. Trb. TC Bar. TC 

Tuba 

E Tuba  b

Tuba TC 

E. Bass 

Mlts. 

Aux. Perc.  S.D. B.D. 

W61F Tradition of Excellence, Book 1 Scope and Sequence 13 36–37 38–39 396–422 423–434

Fl., E T. Sax.: E A. Cl.: B Tpt.: Tuba: b b b Biehl Bach Clarke Haydn Germany Germany England Austria Sonatina Minuet Baroque Symphony Sonata Classical Bsn.: F Hn., E Hn.: E. Bass b Bach Mozart Nowlin Ob.: Germany Austria America Telemann Minuet Concerto Blues Germany Rigaudon E A. Sax., E B. Sax.: Trb.: Perc.: b b Pleyel Giordani Haydn B Cl., B B. Cl.: Austria Italy Austria b b Beethoven Minuet Aria German dance Germany Pearson German Dance Bar B.C., B Bar T.C.: America b Handel Rudimental drumming England



      L L R R L R L L R R L R       L L R R L R L L R R L R 















Five Stroke Roll  (Eighth Note Roll)   or             Nine Stroke Roll Seventeen Stroke Roll (Quarter Note Roll) (Half Note Roll) W61F 10 Tradition of Excellence, Book 2 Scope and Sequence Student Page 2 3 4 5 6 7 8 Score Pages 24–38 39–49 50–63 64–74 75–90 91–101 102–113 New Concepts I (tonic) B insts: All except perc: staccato Largo ritardando transposition cl & b. cl: R.H. down IV (subdominant) perc:b mallet# percussion roll bsn & perc: , courtesy Da Capo al Fine Maestoso C insts, except e. bass, & Techniques V7 (dominant seventh) accidental# perc: clarinets: crossing the & F hn: orchestration perc: laissez vibrer break perc: # whole step S.D. roll interpretation a. cl: R.H. down mlt. perc. economy major scale trb: glissando of motion arpeggio e. bass: position perc: multiple bounce stroke dampening roll sus. cym. roll

New Rhythms syncopation perc:

Performance language instrument pyramid of sound instrument identifcation instrument instrument instrument ear training identifcation twelve bar blues doted quarter note identifcation identifcation identifcation Enrichments scale construction ear training scale construction reinforcement music and lyrics transposition playing by ear conducting conducting echoes/dictation conducting waltz dancing ear training: intervals waltz analysis

6. Skill Builder 12. Skill Builder 18. Skill Builder 23. Skill Builder 29. Skill Builder 36. Still, Still, Still 41. Skill Builder TEST identify whole and half Concert F major staccato doted quarter note clarinets: Concert E , D, C clarinets: Concert B , A f: Concert C steps Concert E Concert G, F, E D.C. al Fine b b Concert A and B perc: mallet e. bass: Concertb A Maestoso ob: right hand F fb ngering percussion roll b ritardando perc: dampening Concert D

History & Brahms Germany Bourgeois Dvořák Spain Waltz America Germany Hymn France Czechoslovakia Hymn America Ireland Culture Argentina Ireland Chorale Symphony Austria Folk Song Folk Song Folk Song Blues Folk Song Spiritual

Fl.

+ Ob. o

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba b

Tuba TC

E. Bass

Mlts.

Aux. Perc.

S.D. B.D.

Timp. W62F Tradition of Excellence, Book 2 Scope and Sequence 11 Student Page 9 10 11 12 13 14 15 Score Pages 114–126 127–135 136–148 149–161 162–176 177–190 191–201 New Concepts all except bsn & perc: binary form perc: tenuto Concert B blues scale e. bass: 5th position call and response courtesy accidental tamb. shake roll perc: bass clef b perc: timp. roll e. bass & perc: & Techniques minor scale c. cym. choke divisi natural c. cym. light or sof unisono harmonic crash perc: long roll melodic e. bass: #

New Rhythms

Performance instrument identifcation concert etiquete instrument identifcation instrument identifcation instrument identifcation instrument identifcation scale construction: hockets ear training: major and rhythmic dictation rhythmic dictation: Enrichments minor forms rhythmic dictation perfect intervals imitation and sixteenth notes ear training: major blues scale analysis transcription blues listening intervals articulation description

48. Skill Builder 54. El Capitan 60. Botany Bay 66. This Train 72. Skill Builder TEST Concert G minor eighth rest Concert A major orchestration sixteenth notes e. bass, clarinets, saxes: tenuto Concert Db timp: roll Concert F timp: Concert B , F timp: Concertb A , E # b b b

History & Ukraine France Nowlin Barnby France Petzold Australia Beethoven Romantic Fanfare Belgium Folk Song Carol America Germany Sousa Germany Folk Song Germany America Sousa Renaissance Culture Chorale March Minuet Blues Symphony Spiritual America Pavane America Opereta Classical March Blues Folk Song Susato

Fl.

Ob.

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba b

Tuba TC

E. Bass

Mlts.

Aux. Perc.

S.D. B.D.

Timp. W62F 12 Tradition of Excellence, Book 2 Scope and Sequence Student Page 16 17 18 19 20–21 22 Score Pages 202–214 215–225 226–239 240–254 255–266 267–278 New Concepts bsn: ficking Allegreto rallentando enharmonics perc: perc: timpani dampening perc: F horn: enharmonics Coda staccato & Techniques timp: D.S. al Coda staccato stroke perfect 4th fnger dampening on bells perfect 5th suspended cymbal scrape

New Rhythms

Performance instrument identifcation instrument identifcation instrument identifcation instrument identifcation concert etiquete self evaluation rhythmic dictation: sixteenth rhythmic dictation: fll in the blanks Enrichments ear training: major and notes, eighth/sixteenth note doted eighth/sixteenth notes applying terms and symbols perfect intervals combinations notation by ear tuning

79. Tirra Lirra Lou 85. Big Rock Candy Mountain 91. Blow Away the Morning Dew 97. It’s in the Bag TEST eighth/sixteenth note Allegreto doted eighth/sixteenth note enharmonics combination sixteenth/eighth note combination Concert B combination rallentando brass: Concert C #

Chorale Folk Song Ireland Canon Pearson Rimsky-Korsakov Nowlin Nowlin History & Overture England Reel Tallis America Russia America America Culture Rossini Sea Chantey America England Germany March Gregorian Chant Italy Canada Folk Song Court Composer England America Susato Folk Song Belium Suite Vaughan Williams

Fl.

Ob.

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba b

Tuba TC

E. Bass

Mlts.

Aux. Perc.

S.D. B.D.

Timp. W62F Tradition of Excellence, Book 2 Scope and Sequence 13 Student Page 23 24 25 26 27 28 29 Score Pages 279–290 291–301 302–314 315–326 327–335 336–347 348–361 New Concepts chromatic scale licks or rifs perc: Adagio perc: snare drum rolls in perc: timp: & Techniques ƒ cut time timp: advanced timp. perfect ffh πperc: tuning perfect fourth slur mlt. & timp. slurs mlt: R & L hand independence

New Rhythms

Performance instrument identifcation instrument identifcation instrument identifcation instrument identifcation instrument identifcation instrument identifcation scale construction: cut time rewrite intonation: roots, thirds, Enrichments rhythmic dictation: cut time conducting: 6 ear training: minor intervals chromatic cut time feel and ffhs and 3 time rhythmic dictation:8 6 time tuning minor thirds interval ear training analysis: scale degrees ear training8 concert band 8 tuning dominant seventh tuning instrumentation chords

103. High School Cadets 109. Dance Josey 115. March of the Toreadors 120. The Merry Minstrels 126. Lisbon Bay 132. La Cumparsita TEST March Concert C major from “Carmen” — Round Concert C minor cut time eighth notes in cut time 3 6π perc: e. bass & brass: timp: Concert G ƒ 8 8 Guiro Concert E Cast. b

Sorenson Chorale America Verdi Sousa Japan Bizet History & America Wales Folk Song Italy March Folk Song France Culture America Indonesia Opera America Canada Opera Folk Song America Romantic Sea Chantey England Matos Rodríguez Sousa Blues Jamaica Purcell Grainger Uruguay March Jazz Folk Song England Calypso Baroque Bizet France

Fl.

Ob.

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba b

Tuba TC

E. Bass

Mlts.

Aux. Perc.

S.D. B.D.

Timp. W62F 14 Tradition of Excellence, Book 2 Scope and Sequence Student Page 30 31 32 33 34–35 36 Score Pages 362–373 374–383 384–399 400–411 412–436 437–446 New Concepts cresc. perc: triangle roll suite dim. & Techniques perc: bass drum roll

New Rhythms

Performance instrument identifcation instrument identifcation instrument identifcation ear training: major/minor/ melodic dictation musical review: styles and sounds Enrichments perfect intervals ear training ear training: major/minor/ perfect intervals development of wind instrument

137. When Johnny Comes 143. Triumphal March from “Aida” 150. Theme from “Tableau” 155. Follow the Drinkin’ Gourd TEST Marching Home eighth note triplet Concert D minor cresc. dim.

History & Humperdinck China Japan Pearson Nowlin Sousa Germany Folk Song Folk Song America America America Culture Opera Mexico Dvořák England Suite Nowlin Verdi Verdi Czech Republic Folk Song Medieval March Italy Italy Symphony March America Opera America Tchaikovsky Folk Song Blues Spiritual Russia Ballet

Fl.

Ob.

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba b

Tuba TC

E. Bass

Mlts.

Aux. Perc.

S.D. B.D.

Timp. W62F Tradition of Excellence, Book 2 Scope and Sequence 15 Student Page 37 38–39 40–41 Score Pages 447–460 461–494 495–506 New Concepts & Techniques

New Rhythms

Performance Enrichments

TEST

History & Pearson f: clarinets: b. sax & bsn: trb: tuba: SD: America von Weber Vanhal C. P. E. Bach von Weber Mouret Traditional Culture Nowlin Germany Czechoslovakia Germany Germany France Pearson Bossa Sonata Sonata March Rondeau America bar BC & ob: a. sax & tpt: bar TC: e. bass: mlts: Telemann t. sax: Clarke Handel Nowlin Petzold Germany Diabelli England England America Germany Austria F hn & E hn: Minuet Sonatina Mozartb Austria Concerto

Fl.

Ob.

E A. Cl. b B Cl. Bb B. Cl. b E A. Sax. Eb B. Sax. b B T. Sax. b B Tpt. b

F Hn.

E Hn. b Trb. Bar. BC Bsn. Trb. TC Bar. TC

Tuba

E Tuba b

Tuba TC

E. Bass

Mlts.

Aux. Perc.

S.D. B.D.

Timp. W62F Tradition of Excellence, Book 3 Scope and Sequence 9

Student Page 2 3 4 5 6 7 Score Pages 22-35 36-49 50-63 64-74 75-90 91-103

New Concepts chromatic scale lick/rif Adagio perc: pianissimo vamp fortissimo tonic perc: & Techniques perc: dominant slur (mlts, timp) advnaced timpani tuning scale degree independent movement (mlts) bass drum roll

New Rhythms 3 6 C 8 8

Performance chromatic scale construction major scale melodic analysis: conducting conducting minor scales Enrichments conducting harmonic analysis contour band function harmonic analysis genre vs. form madrigal genre conjunct vs. disjunct rhythmic dictation trumpet vs. cornet march form improvisation sight-reading composition

5. March “Independentia” 8. Now Is the 14. Articulation and Technique Etude 19. Skill Builder 24. The Liberty Bell March 30. Hostrauser’s March TEST cut time Month of Maying fortissimo 3 6 Concert C minor F hn: E Concert C major tpt, trb, bar, tuba, e. bass: Concert Eb 8 8 perc: 9, 5 Stroke Rolls in perc: 17 Stroke Roll in cut time perc: B (mlts), guiro, casts. pianissimo cut time, bass drum ob: Eb, Db, C roll

History & "chromatic" etymology Morley Sorenson Nowlin Beethoven Norway Liberty Bell Chambers Culture Hall Shakespeare America folk song Germany incidental Sousa America America England reggae Sousa march music America march march madrigal 20th/21st America Classical suite march Renaissance Century march Grieg Romantic

C major C minor #w #w #w b Fl. & #w #w b b ee w e bw #we C major C minor #w b Ob. & #w #w b b ee e bwL bw w A major bw # #w w w A minor Eb A. Cl. ## & bw bw alt. alt. e alt.w D major bw D minor Bb Cl. #ww # ## Bb B. Cl. & ww#w b RL LR bw #wealt.alt.

C major C minor ? #w #w Bsn. #w #w bw bbb w bw ee#wee#w ee alt. A major w bw A minor Eb A. Sax. bw bw # #w ## Eb B. Sax. & bw bw alt. alt. e D major ealt. #w D minor # Bb T. Sax. & #w # b e D major D minor w # Bb Tpt. & #w # b e w #w bwe G major G minor w w # b F Hn. & #w b #wee A major A minor # # w #w Eb Hn. & bw # e bw C major C minor Trb. ? #w #w b Bar. BC b b ee ww# bwe

D major D minor Trb. TC w # Bar. TC & #w # b Tuba TC e w #w bwe C major C minor Tuba ? bw b #w #w b b ee w #w bwe C major C minor Eb Tuba ? bw b #w b b #wee bw C major C minor E. Bass ? #w #w b #w #w b b #w #weebweee

C major w C minor b Mlts. & #w #w b b ee Guiro Bar Chimes Castanets !~~~~~ Aux. Perc. / œ ~~~~~ œ Hi-hat L L R R R L L L R L R R L R > > > > > > or > > S.D. ¿ j j æ æ æ œœ œœ œœ œœ æ æ æ B.D. / ˙ œ œ œ w œ œ œ œ œ œ œ œ™ œ œ œ™ œ œ ˙ œ 9 Stroke 5 Stroke 17 Stroke Drag Single Drag Tap Syncopated 9 Stroke Roll Roll Roll 7 Stroke Roll (cut time) Roll (cut time) (cut time) (cut time) (cut time) C major C minor Timp. ? b w w b b W63F 10 Tradition of Excellence, Book 3 Scope and Sequence

Student Page 8 9 10 11 12-13 14 Score Pages 104-116 117-132 133-151 152-163 164-192 193-202

New Concepts cresc. perc: cantabile poco a poco melody dim. tambourine hand/knee technique forte-piano countermelody & Techniques perc: perc: legato triangle roll timpani ﬂ, ob, bsn, retuning saxophones: vibrato perc: timpani cross-sticking

New Rhythms 3 3 perc: 33 3 3 j œ œ œ œ œ œœ œ œœœ œ œœ œ œœ œ œ œœœœœœ œ™ œœ œ œ œ

Performance conducting minor scales major scale conducting concert etique conducting Enrichments sight-reading harmonic analysis harmonic analysis improvisation ragtime opera sub-genres interval key signature analysis recitative ation

36. Soldiers’ Chorus from “Faust” 42. Prélude from 47. Skill Builder 50. Greensleeves 55. The Easy Winners eighth note triplets “L’Arlésienne” Concert Db major doted eighth/sixteenth/ sixteenth/eighth/ TEST cresc. Concert D minor cl: D, Eb eighth combination in 6 sixteenth dim. 8 Eb hn: F# b. cl, t. sax: cantabile combination F hn, Eb hn: Concert Bb Eb F hn, E hn: perc: 13 Stroke Roll, perc: b Concert C perc: 6 Stroke Roll, perc: Drag, Single Drag Tap sixteenth note triplet and combinations, Single Stroke Four, perc: A, D (timp) Single Stroke Seven, Single Ratamacue, tamb. hand/knee technique bongos, slur (mlts) F (timp)

History & Kocher 20th Century Bizet Mouret England Pearson Holst Mariachi Culture Germany suite France France Vaughan Williams America England Joplin hymn Gounod fanfare folk song overture suite America Holst France suite Baroque Sorenson 20th/21st 20th ragtime England opera Romantic America Century Century intermezzo Romantic rock Mexico 20th/21st Century

D minor Db major w b b Fl. & bbb b

D minor Db major b Ob. & bbbbb #we B minor Bb major bw # #w b Eb A. Cl. & # b balt.w alt. e bw cl only Eb major E minor w bw bw bw b. cl only Bb Cl. bw # bb Bb B. Cl. & bw b alt. alt. alt. bw D minor Db major Bsn. ? b bbbbb w w w bw bw B minor Bb major Eb A. Sax. ## b Eb B. Sax. & b alt. E minor bw w bw #we w #w Eb major bw # b Bb T. Sax. & b b w bw e E minor Eb major # b Bb Tpt. & b b A major #w A minor b b b w F Hn. & b b

B minor Bb major # b w Eb Hn. & # b #w D minor Db major Trb. ? b b Bar. BC bbb b w

Trb. TC E minor Db major # b Bar. TC & b b Tuba TC #w D minor Db major Tuba ? b b bbb b w D minor Db major Eb Tuba ? b bbbbb D minor Db major E. Bass ? bbb b b b w

D major D minor b Chimes Mlts. bbb b ˙™– & b b ˙™—

Bongos Aux. Perc. / œ œ

333 7 7 or 3 > > or > >> S.D. j j æ æ œœ æ æ æ B.D. / œ™ œ œ œ™ œ œœ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ 13 Stroke Roll Single Stroke Single Stroke Single 7 Stroke Roll 6 Stroke Roll Quarter Note Roll) Four Seven Ratamacue (triplet primary strokes)

D minor Db major Timp. ? wwb b b bbw b b

W63F Tradition of Excellence, Book 3 Scope and Sequence 11

Student Page 15 16 17 Score Pages 203-212 213-227 228-246

New Concepts melodic inversion Andantino accelerando & Techniques grazioso

New Rhythms œ œ™ œ

Performance sight-reading conducting minor scales Enrichments dance genres and forms program music harmonic analysis interv tion and analysis expressive playing and phrase shaping composition

60. Wolsey’s Wilde 65. Scheherazade 71. High Germany sixteenth notes in 6 eighth/do d eighth/sixteenth combination and sixteenth notes in 6 Concert F minor TEST 8 Andantino 8 ﬂ, bsn, a. sax, b. sax, tpt, trb, bar, tuba, e. bass: perc: 5 Stroke Roll in 6 Concert F 8 grazioso perc: 7, 13, Syncopated 9 Stroke Rolls in cut time; Drag Paradiddle #1; Drag Paradiddle #2; D (timp); 3 drums on timp perc: 9, 13 Stroke Rolls in 6 b 8

History & Ireland Renaissance Rimsky-Korsakov England Culture folk song Jacob Russia folk song Byrd Renaissance dance music suite Vaughan Williams England Holst Romantic virginal 20th Century

F minor w w b b Fl. & b b F minor b b Ob. & b b w bw D minor w bw bw bw #w Eb A. Cl. & b alt. e b. cl only cl only bw bw G minor Bb Cl. b Bb B. Cl. & b alt. wL w w F minor ? Bsn. bbbb

D minor Eb A. Sax. Eb B. Sax. & b

G minor b Bb T. Sax. & b

G minor #w w b Bb Tpt. & b

C minor b F Hn. & b b

D minor Eb Hn. & b

w w F minor Trb. ? b Bar. BC b bb

Trb. TC G minor #w w b Bar. TC & b Tuba TC

F minor Tuba ? w w bbbb

F minor Eb Tuba ? w w b b bb w w F minor E. Bass ? b b bb

F minor #w #w b Mlts. b bb & e e #we #we

Aux. Perc. /

RR LRRLLRLL R LLRLRRLLRRLRLLRRLLR LLRLRR L RRL RRLR LL > or > or > >>or > > > > or > S.D. j j j j j > > æ æ æ æ æ æ æ æ œœ œœ œœ œœ œœ œœ æ æ B.D. / œ œœ œœ œ œœœ œ œœœœ œœœœ œ œ œ œ œ œ™ œ œ œœœœœœ œœœœœ œ œ œœœœœ œ œœœœ ˙™ œ œ ˙™ œ Single Dragadiddle Drag Paradiddle #1 Drag Paradiddle #2 13 Stroke Roll 3 6 9 Stroke Roll ( 3 & 6 ) 13 Stroke Roll ( 3 & 6 ) (cut time) 5 Stroke Roll ( 8 & 8 ) 8 8 8 8

F minor ? Timp. bbbb

W63F 12 Tradition of Excellence, Book 3 Scope and Sequence

Student Page 18 19 20 21 22 Score Pages 247-261 262-269 270-280, 291 281-291 292-309

New Concepts pentatonic scale e bass: ﬂ: slur & Techniques harmonic perc: F hn: trill notation stopped horn perc: thumb roll

New Rhythms all except perc: j œ œ™ ≈ œﬁ œ

Performance pentatonic scale construction conducting concert etique minor scales Enrichments sight-reading harmonic analysis dance genres and forms sight-reading binary form rhythmic dictation

75. Celebration of Life 80. The Keel Row 87. Admiral Benbow TEST accelerando sixteenth/doted Concert A minor perc: slurs, G (timp) eighth combination ﬂ, bsn, a. sax, b. sax, tpt, trb, bar, tuba, e. bass: Concert E sixteenth rest perc: Single Dragadiddle, Tr iple Paradiddle, Single Paradiddle-diddle, tri roll perc: 7 Stroke Roll (triplet primary strokes), Single Flammed Mill, tamb thumb roll

History & Nowlin folk song Mozart Holst Marcello England Culture Korea Hultgren Austria England Italy Vaughan Williams cultural identity Australia Classical 20th Century Renaissance folk song England 20th/21st Century Scotland s Pearson Holst folk song Nowlin

A minor w w #w #w Fl. & A minor

Ob. &

F# minor # # #w Eb A. Cl. & # #we

B minor Bb Cl. ## Bb B. Cl. &

A minor Bsn. ? w bw #we w w F# minor Eb A. Sax. ### #w Eb B. Sax. & e w B minor # Bb T. Sax. & #

B minor # Bb Tpt. & # w alt. E minor # F Hn. &

F# minor # # #w Eb Hn. & # w alt. e A minor Trb. ? w Bar. BC alt. bar , tuba only

B minor Trb. TC # Bar. TC & # w Tuba TC alt. bar only

A minor Tuba ? alt.w

A minor Eb Tuba ? w alt.w A minor E. Bass ?

Mlts. &

Aux. Perc. /

R L R R L L R L R R L L LLR L R LLR L R L RRLR R LLRL RLRLRLRRLRLRLRLL L R L L R R L R L L R R RRL R L RRL R L > > > > > > > > j j S.D. œﬁ œﬁ œœ œœ B.D. / œœœœ œœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœ œœœ œ œœ Single Flammed Mill Triple Paradiddle Single Paradiddle-diddle Lesson 25

A minor Timp. ? w #w w #w #w e #w bwwee# e e

W63F Tradition of Excellence, Book 3 Scope and Sequence 13

Student Page 23 24 25 26 Score Pages 310-321 322-335 336-348 349-363

New Concepts Larghetto ﬂ, brass: Vivace ﬂ, brass: dolce double tonguing sostenuto triple tonguing & Techniques decresc. e bass: e bass: hammer-on pull-of perc: subdominant

New Rhythms 9 12 5 8 8 4

Performance improvisation conducting conducting conducting dance genres and forms Enrichments melodic analysis: dance genres major scale transposition disjunct expressive playing and melodic shaping harmonic analysis notation analysis audience etiquete articulation analysis music editing interval notation

90. Skill Builder 95. Jesu, Joy of Man’s Desiring 100. Theme from Symphony No. 5 106. Skill Builder TEST grace note 9 12 Concert G major ﬂ: F#, G#, A 8 8 5 t. sax: B dolce t. sax: C# 4 t. sax: E, F perc: Lesson #25, shakers, G#(mlts) perc: Double Ratamacue, Triple Ratamacue ﬂ: G perc: scale degree and interval recognition bsn, a. sax, b. sax, tpt, trb, bar, tuba: Concert F#, G in timp tuning all except perc: staccato/tenuto articulation perc: Pa a

History & Beethoven Sorenson Nowlin Bach Strauss (Josef) Wagner Russia England Culture Germany America Wales Germany Strauss family Germnay symphony Playford sonatina funk folk song Baroque Austria opera Romantic Vaughan Williams Classical 20th/21st Century polka Tchaikovsky folk song

G major # Fl. & G major # Ob. &

E major # ## Eb A. Cl. & #

A major Bb Cl. ### Bb B. Cl. & G major #w w Bsn. ? # E major w #w Eb A. Sax. #### Eb B. Sax. & alt. w A major # Bb T. Sax. ## & alt. A major # # #w w Bb Tpt. & #

D major # F Hn. & # E major # # Eb Hn. & # #

#w w Trb. ? # Bar. BC

Trb. TC # # #w w Bar. TC & # Tuba TC

Tuba ? # #w w

Eb Tuba ? # #w

E. Bass ? #

# Mlts. &

Shakers Temple Blocks Aux. Perc. œœ / œ œœœ

L R L R R L L RLR R L R LRL L R R L RL L R 3 > 3 > > or > > or > S.D. j j j j œœ œœ œœ œœ œœ œfi œfi œfi œfi æ æ æ æ æ æ æ æ B.D. / œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œœ œœ™ œ œ œ œ™ œ œ œ™ œ œ Double Ratamacue Triple Ratamacue Pa Eleven Stroke Roll Fi Stroke Roll

Timp. ? #

W63F 14 Tradition of Excellence, Book 3 Scope and Sequence

Student Page 27 28 29 30-31 32-33 34-35 Score Pages 364-372 373-382 383-393 394-413 414-446 447-458

New Concepts asymmetrical meter swing Marziale perc: & Techniques all except trb, e bass, & perc: perc: tambourine back-and- forth trill mallet percussion trill technique e bass: triangle rhythmic dampening chord symbol perc: playing tambourine with fngers of both hands

3 New Rhythms 6 3 5 7 4 2 8 8 œ œ œ

Performance conducting conducting conducting concert etiquete Enrichments melodic analysis asymmetrical meter analysis Realism composition

110. Promenade from 117. Asymmetrical Meter 122. Blues for a Drowsy Cat “Pictures at an Exhibition” TEST 5 7 quarter note triplet 6 8 8 swing sostenut4 o perc: tamb w ers of both hands, t. blks all except trb & e bass: trill perc: trill notation for rolls, chimes, t-tam 112. Skill Builder: Rondeau from “Abdelazer” 3 2 ob: Bb

History & England Ravel Pearson Vivaldi Sousa ﬂ & mlts: tpt, Eb hn, tuba: Culture Grainger suite traditional Italy America Telemann bar: Purcell Vaughan Williams Purcell hymn tune concerto Nowlin Germany Denza England England overture Italy e. bass: folk song Baroque march ob, cl, & a. sax: F hn: Nowlin Mussorgsky Baroque African American spiritual Boccherini Saint-Saëns America Russia incidental music Italy SD: America minuet France Romantic Br en blues bsn, a. cl, b. cl, trb: Traditional t. sax & b. sax: Bizet Rudimental Mozart France Austrian opera minuet

Fl. &

Ob. &

Eb A. Cl. &

Bb Cl. Bb B. Cl. &

Bsn. ?

Eb A. Sax. Eb B. Sax. &

Bb T. Sax. &

Bb Tpt. &

F Hn. & w alt.

Eb Hn. &

Trb. ? Bar. BC

Trb. TC Bar. TC & Tuba TC

Tuba ?

Eb Tuba ?

E. Bass ?

Mlts. &

Gong/Tam-tam Aux. Perc. / ~

L RLRRLL R LRLLRR LLR LLRLRRL RRLR

j> j> > > S.D. œﬁ œﬁ œœ œœ œœ œœ B.D. / œœ œœœœ œœœœœœ œ œ œ œ œ œ Flam Paradiddle-diddle Double Drag Tap

Timp. ?

W63F Categorical Index of Concepts

Articulations trill, III:28 accent, I:18 Tuti, I:9 cresc. (abbr. crescendo), II:30, III:8 unisono (unis.), I:22 crescendo, I:22 decresc. (abbr. decrescendo), III:23 Repeats decrescendo, I:22 coda, II:19 dim. (abbr. diminuendo), II:30, III:8 D.C. al Fine, I:26, II:5 dynamics, I:17 D.S. al Coda, II:19 fermata, I:12 Endings, 1st and 2nd, I:12 legato, III:14 repeat sign, I:9 staccato, I:25, II:4 sostenuto, III:25 Rhythm & Notation tenuto, II:12 accidental, I:5–6 anacrusis, I:16 Dynamics eighth note triplet, II:31 forte, I:17 eighth rest, II:12 forte-piano, III:12 grace note, III:23 fortissimo, II:26, III:4 key signature, I:11 mezzo forte, I:18 multi-measure rest, I:20 mezzo piano, I:18 one measure repeat, I:10 pianissimo, II:28, III:6 pick-up beat, I:16 piano, I:17 quarter note triplet, III:29 sixteenth note, II:15 Meter swing, III:29 , II:24, III:2 syncopation, I:31, II:7 ⇥⌅ trill, III:28 é⌅ , III:27 triplet, eighth note, II:31 ⇥⇤ , I:11 triplet, quarter note, III:29

´⇤ , I:17 Scales ®⇤ , I:6 blues scale, II:13 , III:26 †⇤ chromatic scale, II:24, III:2 ⇤¥ , III:27 harmonic minor, II:9 melodic minor, II:9 ´ , II:27, III:5 natural minor, II:9 † , III:28 pentatonic scale, III:18 ¥ , II:28, III:6

¨ , III:28 Tempo

ø , III:24 accelerando (accel.), III:17 Adagio, II:28, III:4 œ⇧ ⇥⇧ , III:25 alla breve, II:24, III:2 Allegreto, II:17 asymmetrical meter, III:28 Allegro, I:18 common time, I:9 Andante, I:18 cut time, II:24, III:2 Andantino, III:16 swing, III:29 fermata, I:12 poco a poco, III:12 Largheto, III:23 Largo, II:5 Miscellaneous Terms Maestoso, I:27, II:6 Marziale, III:30 cantabile, III:11 Moderato, I:18 divisi, I:22 poco a poco, III:12 dolce, III:23 rallentando (rall.) II:18 enharmonics, II:19, II:24 ritardando (ritard. or rit.), I:30, II:6 grazioso, III:16 swing, III:29 poco a poco, III:12 Vivace, III:25 Solo, I:9

⇥⌅ , II:24, III:2 fortissimo, II:26, III:4 grace note, III:23 é⌅ , III:27 grazioso, III:16 ⇥⇤ , I:11 harmonic minor, II:9 , I:17 ´⇤ key signature, I:11 ®⇤ , I:6 Largheto, III:23 †⇤ , III:26 Largo, II:5 ⇤¥ , III:27 legato, III:14 ´ , II:27, III:5 Maestoso, I:27, II:6 Marziale, III:30 † , III:28 melodic minor, II:9 ¥ , II:28, III:6 mezzo forte, I:18 , III:28 ¨ mezzo piano, I:18 ø , III:24 Moderato, I:18 œ⇧ ⇥⇧ , III:25 multi-measure rest, I:20 accelerando (accel.), III:17 natural minor, II:9 accent, I:18 one measure repeat, I:10 accidental, I:5–6 pentatonic scale, III:18 Adagio, II:28, III:4 pianissimo, II:28, III:6 alla breve, II:24, III:2 piano, I:17 Allegreto, II:17 pick-up beat, I:16 Allegro, I:18 poco a poco, III:12 anacrusis, I:16 quarter note triplet, III:29 Andante, I:18 rallentando (rall.) II:18 Andantino, III:16 repeat sign, I:9 asymmetrical meter, III:28 ritardando (ritard. or rit.), I:30, II:6 blues scale, II:13 Solo, I:9 cantabile, III:11 sostenuto, III:25 chromatic scale, II:24, III:2 staccato, I:25, II:4 coda, II:19 swing, III:29 common time, I:9 syncopation, I:31, II:7 cresc. (abbr. crescendo), II:30, III:8 tenuto, II:12 crescendo, I:22 trill, III:28 cut time, II:24, III:2 triplet, eighth note, II:31 D.C. al Fine, I:26, II:5 triplet, quarter note, III:29 D.S. al Coda, II:19 Tuti, I:9 decresc. (abbr. decrescendo), III:23 unisono (unis.), I:22 decrescendo, I:22 Vivace, III:25 dim. (abbr. diminuendo), II:30, III:8 divisi, I:22 dolce, III:23 dynamics, I:17 eighth note triplet, II:31 eighth rest, II:12 Endings, 1st and 2nd, I:12 enharmonics, II:19, II:24 fermata, I:12 forte, I:17 forte-piano, III:12

© 2014 Neil A. Kjos Music Company. All rights reserved. Index of Snare Drum Rudiments & Technique cross-stick, II:16 Roll, 7 Stroke, II:18 Doted Eighth Note Roll, II:18 Roll, 7 Stroke, Cut Time, II:30 Doted Quarter Note Roll, II:32 Roll, 7 Stroke (Triplet Strokes), III:10 Double Drag Tap, III:28 Roll, 9 Stroke, I:26 Double Paradiddle, II:14 Roll, 9 Stroke, Cut Time, II:24

Double Ratamacue, III:24 Roll, 9 Stroke in ´ & ¥ , III:16 Drag Paradiddle #1, III:17 Roll, 9 Stroke, Syncopated, II:12 Drag Paradiddle, #2, III:17 Roll, 9 Stroke, Syncopated, Cut Time, II:31 Drag, Double Drag Tap, III:28 Roll, 11 Stroke, III:26 Drag, II:28 Roll, 13 Stroke, II:32 Drag, Single Tap, II:28 Roll, 13 Stroke in ´ & ¥ , III:16 Dragadiddle, Single, III:16 Roll, 13 Stroke, Cut Time, III:17 Eighth Note Roll, I:28 Roll, 15 Stroke, III:26 Eleven Stroke Roll, III:26 Roll, 17 Stroke, I:30 Fifeen Stroke Roll, III:26 Roll, 17 Stroke, Cut Time, II:26 Five Stroke Roll, I:28 Roll, Cut Time, 5 Stroke, II:24 Five Stroke Roll in Cut Time, II:24 Roll, Cut Time, 7 Stroke, II:30 Five Stroke Roll in ´ & ¥ , III:15 Roll, Cut Time, 9 Stroke, II:24 Flam Accent, I:18 Roll, Cut Time, 9 Stroke, Syncopated, II:31 Flam Paradiddle-diddle, III:28 Roll, Cut Time, 17 Stroke, II:26 Flam Paradiddle, I:14 Roll, Doted Eighth Note, II:18 Flam Tap, I:14 Roll, Eighth Note, I:28 Flam, I:10 Roll, Half Note, I:30 Flam, Single Flammed Mill, III:18 Roll, Quarter Note, I:26 Flamacue, II:14 Roll, Quarter Note, Doted, II:32 Half Note Roll, I:30 Roll, Quarter Note, Syncopated, II:12 Lesson 25, III:22 Seven Stroke Roll, II:18 Mill, Single Flammed, III:18 Seven Stroke Roll in Cut Time, II:30 Multiple Bounce Stroke, I:8 Seven Stroke Roll with Triplet Strokes, III:10 Nine Stroke Roll, I:26 Seventeen Stroke Roll, I:30 Nine Stroke Roll in Cut Time, II:24 Seventeen Stroke Roll in Cut Time, II:26 Nine Stroke Roll in ´ & ¥ , III:16 Single Drag Tap, II:28 on rim, I:13 Single Dragadiddle, III:16 Paradiddle-diddle, Flam, III:28 Single Flammed Mill, III:18 Paradiddle-diddle, Single, III:22 Single Paradiddle-diddle, III:22 Paradiddle, Double, II:14 Single Paradiddle, I:6 Paradiddle, Drag #1, III:17 Single Ratamacue, III:10 Paradiddle, Drag #2, III:17 Single Stroke Four, III:10 Paradiddle, Flam, I:14 Single Stroke Seven, III:10 Paradiddle, Single, I:6 Six Stroke Roll, III:14 Paradiddle, Triple, III:22 snares of, I:7 Patafafa, III:26 Syncopated Nine Stroke Roll in Cut Time, II:31 Quarter Note Roll, I: Syncopated Nine Stroke Roll, II:12 Ratamacue, Double, III:24 Syncopated Quarter Note Roll, II:12 Ratamacue, Single, III:10 Tirteen Stroke Roll, II:32 Ratamacue, Triple, III:25 Tirteen Stroke Roll in Cut Time, III:17

Roll, 5 Stroke, I:28 Tirteen Stroke Roll in ´ & ¥ , III:16 Roll, 5 Stroke, Cut Time, II:24 Triple Paradiddle, III:22 Roll, 5 Stroke in ´ & ¥ , III:15 Triple Ratamacue, III:25 Roll, 6 Stroke, III:14

Bar Chimes, II:29 (Mallets, cont.) Bass Drum, I:2 Trill, III:29 roll, III:3 Maracas, I:12 Bells, I:3 Mark Tree, see Bar Chimes dampening with fnger, II:22 Orchestra Bells, see Bells independent hands, II:28, III:6 Retuning, timpani, III:12 with fngers, mallets, sticks, III:11 Roll Castanets, II:29 Bass drum, III:3 Chimes, III:12 Mallets, I:26, II:3 Choke (dampening) Snare drum, I:26 Crash Cymbal, II:11 Suspended cymbal, I:26 Gong, III:27 Tambourine, shake, II:11 Suspended Cymbal, II:2 Tambourine, thumb, III:18 Tam-tam, III:27 Timpani, II:14 Triangle, II:2 Triangle, II:32, III:8 Claves, I:12 Scrape, suspended cymbal, II:22 Cowbell, I:12 Shake roll, tambourine, II:11 Crash Cymbals, I:27 Shaker, III:23 choke, II:11 Sleigh Bells, I:12 light crash, II:11 Slurs sof crash, II:11 Mallet roll, II:28 Cross-stick Timpani roll, II:28, III:6 Snare Drum, II:16 Snare Drum, I:2 Timpani, III:14 cross-stick, II:16 Cymbals on rim, I:13 Crash, I:27 roll, I:26 Suspended with mallet, I:3 Snares of, I:7 Suspended with stick, I:3 Sof crash, crash cymbals, II:11 Dampening, Suspended Cymbal Bells with fnger, II:22 Choke, II:2 Gong, III:27 Roll, I:26, II:6 Suspended cymbal, II:2 Scrape, II:22 Tam-tam, III:27 With mallet, I:3 Timpani, II:16 With stick, I:3 Triangle, II:2 Tam-tam, III:27 Triangle, rhythmic, III:34 Tambourine, I:12 Double Stop, mallets, I:18 Tumb roll, III:18 roll, I:30 Fanning, III:34 Drum Set, IPS Fingers, III:28 Fanning, tambourine, III:34 Hand/knee, III:10 Fingers, tambourine, III:28 Shake roll, II:11 Fist, tambourine, III:10 Temple Blocks, III:24 Gong, III:27 Tumb roll, tambourine, III:18 Guiro, II:29, III:3 Timpani, II:12 Hand, tambourine, III:10 Cross-stick, III:14 Hi-hat, II:29, III:3 Dampening, II:16 Independent hands, Mallets, II:28, III:6 Retuning, III:12 Knee, Tambourine, III:10 Roll, II:14 Laissez vibrer (let ring), II:5 Slurs, II:28 Let ring (laissez vibrer), II:5 Triangle, I:3 Light crash, crash cymbals, II:11 Choke, II:2 Mallets Rhythmic dampening, III:34 double stop roll, I:30 Roll, II:32, III:8 double stop, I:18 Trill, mallets, III:29 Independent hands, II:28, III:6 Tube Shaker, III:23 Roll, double stop, I:30 Tubular Bells, III:12 Roll, I:26, II:3 Wood Block, I:12 Slurs, II:28, III:6