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1. 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: Tom Gerou
Music Engraving: Greg Plumblee
IIlustrations: Martin Ledyard
Photography (pages 3 & 4): Jordan Miller
Instrument photos (cover, pages 1 & 2) are courtesy 01 Yamaha Corporation 01 America.aZYXWVUTSRQPONMLKJIHGFEDCBA
T h s n k s to th e s tu d e n ts a n d s ta ff o f L in d e ro C a n y o n M id d le S c h o o l a n d 8 a n d D ire c to r
M a tt M c K a g a n fo r th e ir p a rtic ip a tio n in th e p h o to g ra p h s o n p a g e s 3 a n d 4 .
lesl
Copyright © MCMXCVII Alfred Publishing Co.• Inc.
AII rights reserved. Printed in USA.

2. 11zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
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 motion. The
center of the embouchure hole should be
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 to the
back of the n key points to the center of
the keys on the middle joint.ZYXWVUTSRQPONMLKJIH
H E A D J O IN T ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
OETTINO READY To PLAY
FLUTE CARE
1. When you are finished playing, take your flute apart
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.
F O O T J O IN T

3. 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.

4. •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:
1. Stick your lower lip outVUTSRQPONMLKJIHGFEDCBA
s lig h tly as if
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
1. Practice taking a full breath, filling the bottom
of your lungs so that your stomach expands.
Then fill the top of your lungs without 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
and start blowing a focused stream of air by
whispering "doo", feeling as if you are holding
back some of your breath. After you've made a
tone, try placing your right hand over the open
end of the head joint to produce a lower pitch.
Next, produce several notes on one breath by
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.
PRACTICE TIPS
1. Try to find a place with a good, firm chair where
you will not be interrupted. Use a music stand to
hold your music in the correct position for playing.
2. Start by playing long tones. This builds your
embouchure and improves your tone.
3. Always include some already learned "review"
pieces, so that you continue to improve and perfect
your performance.
4. Spend a concentrated period of time on the most
difficult parts of your music. Avoid the temptation to
play only the easy parts.
5. To make your practice even more enjoyable, try
playing along with theONMLKJIHGFEDCBA
A C C EN T O N A C H IEVEM EN T
accompaniment CDs or cassettes.

5. THE STAFFzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
5 lines and 4 spaces
used for writing music.
TREBLE CLEF DOUBLE BAR
Also called G clef. The second line
BAR LINE I The end of
of the staff is the note G. a section
Divides the staff MEASURE
of music.
TIME SIONATURE into measures.
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 order
(A, S, e, D, E, F, G, A, S, etc.).
There are rules that help us
remember the names of the lines
and spaces of the staff.
LEDOER LINES
Used to extend the staff.
~ZYXWVUTSRQPONMLKJIHGFEDCBA
e
E
A
FIHGFEDCBA
~~----G~_~B D~
~~--E---------::::3
From bottom to top,
the spaces spell FACE.
The lines can be remembered
by using the first letter of each
word in the sentence
Every Good soy Does Fine.
A BzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
e o E F G A B e o E F G A B e

6. 11zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
.
TIME SIONATURE
WHOLE NOTE WHOLE REST
4 = 4 beats in each measure
SOLO 4 = quarter note receives 1 beat
3n
I 3 - I
One person playing
I
1&2&3&4& 1&2&3&4&
',~"ij_~~~~;!-.3<;f.;':~~~_',;l~
D
~
F
Receives 4 beats Indicates a whole
~ ~
in! time. measure of silence.
,...
FLAT
oeeleee(l oeeleee4 eeeleo04
b
Lowers theIHGFEDCBA
or or or pitch of a note
~ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
• 1 .21"'" one half step .
FIRST NOTES ANO RESTS
~l
D
1
o )~
I',~ - I
o
- I
o
- ~
Count: 1 &2&3&4& 1 &2&3&4&
OOINO Up
, E~
.r eU
'
2
3
[zn
- - -
LINES ANO SPACES
3 ,3 o
- FIn - El«' - I
o
- ~
WATCH THOSE RESTS
~
F
3
o
I
o
I
o
I
o
~
4 - - - -
Up ANO DOWN
~
3 o ~ln
I
O
~1('
I
O
~
5 - - - -
Two OF A KINO
~
í
O
I
o
~ln ~ln
I
o
I
O
~
6 - -aZYXWVUTSRQPONMLKJIHGFEDCBA
A C C E N T O N L lS T E N IN G
Listen carefully to the soloist, then match the pitch.
,í
[,n
~ln
I
o
I
O
I
O
I
O ~ll'
rZl
'
7
. J;Q BAND SOLO BAND SOLO BAND SOLO BAND

7. ,', ,,' ,.;.o., ~",:.,. , •••. " , 'zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
11
Receives 1 beat
in t time.ZYXWVUTSRQPONMLKJIHGFEDCBA
B R E A T H M A R K ,
A suggested place
to take a breath.
D U E T
A composition with
parts for two players.
O U A R T E R N O T E
1&2&3&4&ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
0000 NEIOHBORS
o -
MIX 'EM U p
9
,
Also
E~
10 ~ i,~~- ~~- fim~- ~
Count: 1 & 2 & 3 & 4 &
FOUR IN A Row
PASSINO NOTES
TAKE FIVE
THREE-NoTE SAMBA
o ONMLKJIHGFEDCBA
ACCENT O N THEO RY Fill in the note names, then fill in the fingerings.
14
~ ~ ~ ~ ~ ~
0001000(] ooolooo(] ooolooo(] ooolooo(] 0001000(1 0001000(1IHGFEDCB
01.7 01.7 01.7 01.7 01.7 01.7

8. •
~~zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
.00100041 .001.0041aZYXWVUTSRQPONMLKJIHGFEDCBA
0 0 " or
IZYXWVUTSRQPONMLKJIHGFEDCBA
H A L F N O T E H A L F R E S T IHGFEDCBA
1&2&3&4&
Receives 2 beats
in t time.ponmlkjihgfedcbaZYXWVUTS
MOVIN' ON DOWN
e
1"
o
b """
HOT CROSS BUNS
1&2&3&4&
Receives 2 beats
in t time.
I I I
I
11 11
I
11
I
English Folk Song
Au CLAIRE DE LA LUNE
18~i~-
French Folk Song
JINGLE BELLS Traditional Carol
-'
19;i~-
~-~-~ONMLKJIHGFEDCBA
ACCENT O N LlSTENING
1. Play "Mary Had a Little Lamb" by ear.
2. Write in the missing notes to complete the songo

9. QUARTER REST
iZYXWVUTSRQPONMLKJIHGFEDCBA
*zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
45jzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGF
Receives 1 beat REPEAT SION :11
inaZYXWVUTSRQPONMLKJIHGFEDCBA
i and itime. Play the music again
1 & 2 & from the beginning.
TIME SIONATURE
ROUND
2 = 2 beats in each measure
Playing the sarne music
4: = quarter note receives 1 beat
beginning at different times.
HANOCLAPPER'S MARCH
a
" I I
, , I I
tJ I I I
Count: 1IHGFEDCBA
& 2 & 1 & 2 & 1 & 2 &
2ap
; I:,~~¡f' I ~ I I I ~ ~ J ~ I J J I ~
4 ;~~<~
(- (- t (- ~
21
b
BETTER THAN THE REST
Clap first, then play.
22~i m* ~* ~*r* m* ~
0000 KINO WENCESLAS Traditional Carol
23~¡~ 'I~ ~ * n
DONKEY ROUNO American Folk Song
24 ~~o;:::=:===
DREYOL. DREYOL Traditional Hanukkah Song
25 ~ i -:~
ACCENT O N FLUTE
26~*~~*~ .. ~
For more individual technique practice, see page 42. #1.

10. 11zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
~
l
~ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
KEY SIONATURE
t "VUTSRQPONMLKJIHGFEDCBA
s:
~
~
? ~
Indicates notes which are to be
s ~
..
flatted or sharped. AII B's and
s ~
1 ••ZYXWVUTSRQPONMLKJIHGFEDCBA
0 1 0 0 0
4
'
~ or ~ E's should be played as B~ and
TIE ~,~"': .•._-~ nthroughout.
Joins two notes of
~ [§ I
the same pitch to <::: TEMPO MARKINOS
make one long note. 1 & 2 & 1 & 2 & Moderato Allegro
Medium tempo Fast tempo
REACHINC DOWN
27~3~*~-_" ~
THE SCORE Is TIED <Duet>
aaZYXWVUTSRQPONMLKJIHGFEDCBA
I I
, I
..
." "
~ I I 1'- I I
1 & 2 & 1 & 2 &
" I ,
~ I I I I I I I I
2 8
b
MARY ANN
2 9
Jamaican Folk Song
:~ONM
A C C EN T D N TH ED R Y: D n m e B ridge at A rignon
Name the notes, then play. French Folk Song
31 -p'3

11. HOLlDAY SAMPLERzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
11HGFED
A C C E N T O N P E R F O R M A N C E zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Arr. by John O'Reilly
and Mark Williams
Allegro
~e 4 6
[Q]
~~14 ~~16e 17 18~
~~
[E]
Fr_;F=j~20e~~ ~~-
~aZYXWVUTSRQPONMLKJIHGFEDCBA
r 28 30
~.--
iE=:;-~~~
~~r=*IJ

12. 11VUTSRQPONMLKJIHGFEDCBA
A aZYXWVUTSRQPONML
'- C J :t . .' .• '.zyxwvutsrqponmlkjihgfe
'"""-".,.,"'---_ ..,,,."'---,ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
EIGHTH NOTES
~ Receive 1;2beat
~
:~
~ ~
t ~
)
L__ ~~,_~~
in !and itime.
VARIATlON
Changing the rhythm
or notes of a theme
lEMPO MARKING to create variety.ZYXWVUTSRQPONMLKJI
A n d a n te
2 &
Moderately slow tempo
• r.
~_ ..
EIOHTH-NoTE EXPRESS
-
Count: 1 & 2 & 3 & 4 &
RHVTHM RIDDLE
Clap first, then play.
3 3 V i~
BILE THEM CABBAOE DOWN
34
SURPRISE SVMPHONV --'''--'",=':._-
THEME I • Franz Joseph Haydn
35 ~' -':;
~.'_~i
~~§'~~HGFEDCBA
A C C E N T O N C R E A T I V I T Y :ONMLKJIHGFEDCBA
VariatioR O R Lightly R ow
Create your own variation by changing some of the quarter notes into pairs of eighth notes. German Folk Song
36~!i@H ~ ~~i
~
,
r ~
r r ij r r r f o

13. INTERNAL REPEATzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
G
11: :11zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFE
~
Repeat only the music
between the signs.
eeeloooZYXWVUTSRQPONMLKJIHGFEDCBA
41IHGFEDCBA
or
•
CLlMBINO HIOHER
G
37 - ~
--------_ ... -
1ST ANO 2ND ENDINOS
2nd time:skip the first ending and
play the second.
MORE EIOHTH NOTES
LONDON BRIDOE rouen
Moderato English Folk Song
a
" I
• - .-
~ I I I
" I I I I
~ I I I I I I I I I I I I
3 9
b
STODOLA PUMPA
Allegro
40
Czech Folk Song
SKIP TO Mv Lou
Moderato American Folk Song
41 *_1
~:::¡~± 112. 1
~*r*~*"
FIRST CHORALE
Andante
42~~O~O ~ONMLK
ACCENT O N FLUTE
43 - ~
For more individual technique practice, see page 42. #2.

14. ~ / .; : ., .zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
11ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SLURzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
"Too" _
Connects notes of
different pitch.
Tongue only the
first note.
DIVISI
d iv .
DOTTED HALF NOTE
Some players play the
~
top notes while others
J J~j
play the bottom notes.
=
1&2&3& 1&2&3&
A dot following a note increases TIME SIONATURE
its length by 1;2 its original value. 3 = 3 beats in each measure
In iand !time. a dotted half
4 = quarter note receives 1 bea
note receives 3 beats.
SLURS ANO DOTS
44 - ~aZ
1 I
- r--.... n· ~
-
~ I
I I I
1 I
- I
- I I
~ I
I I I I
I I
THREE-FoUR DUET
a
45
b
SOUTHERN ROSES Johann Strauss, Jr.
Moderato
m=w' m=ij~5-189911
46
•'
~ .
§t ij'
~~"3t
~'
~'
8'1' ij' , , ~
MEXICAN JUMPING BEANS
(Variation on CHIAPANECASl
Allegro
47~~, ª~,~* ~
~ * EWª,ª*ª:iij * I*f~'
~
~
A ONMLKJIHGFEDCBA
CCENT DN THEDRY
Mexican Folk Song
Draw the correct bar lines. then play.
48~*~*1~*~

15. NATURAL
KEY SIGNATUREzyxwvutsrqponmlkjihgfedcbaZYXWVU
I~"'~'zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
Cancels a flat or sharp
~
~ Al! B's should be played
,
~
until the next bar line.
as B~ throughout.
I DYNAMIC MARKINGS
eeeleeoZYXWVUTSRQPONMLKJIHGFEDCBA
41aZYXWVUTSRQPONMLKJIHGFEDCBA
f p IHGFEDCBA
or
.~
fo r te -Io u d p ia n o -so ft
11'-
Two WAYS TO PLAY IT
AURA LEE rouen
Andante
American Folk Song
a
11
••VUTSRQPONMLKJIHGFEDCBA
n
'"
_.-.......
• n
'"
~ I I I
11 I I I I I I
. .
~ I I I I I I I I I I
5 0
b
FRERE JACQUES (ROund)
Moderato CD French Folk Song
5 1 V i~ ~ ~ ~
: ' f p
f p .
f I
p
MORNING from 11 PEER GYNT"
Edvard Grieg
52HGFEDCBA
A ONMLKJIHGFEDCBA
CCENT O N CREATIVITY: Cam ptow n Races
Add your own dynamic markings, then perform.
Stephen Foster
(1826-1864)
5 3
b

16. •ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
PATTERNS WITH PICK-UPSzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
54 ~ IaZYXWVUTSRQPONMLKJIHGFEDCBA
f p f 1 2 3
(1 2 3) 4
FERMATA 1":'
RITARDANDO Hold the note longer.ZYXWVUTSRQPONMLKJIHGFEDCBA
rito
Gradually slow down the tempo.
PICK-UP NOTES
I~
! (1 2 3) 4
! Notes that precede the
I first full measure.
CARNIVAL OF VENICE Italian Folk Song
55
f
(1 2) 3 1 2
JOLLY OLD STo NICHOLAS
AII Traditional CarolVUTS
5 6 ~ i~ ~ ~
~~~
THE SNAKE CHARMER
Andante
Traditional
5 7
BILL OROCAN'S OOAT
Allegro American Folk Song
58~~" ~"~" ~~n
(1)1; 3 4ONMLKJIHGFEDCBA
ACCENT O N FLUTE
59V1
f
For more individual technique practice. see page 42. #3 & 4.
I
- ~
112.
:lF

17. Johnzyxwvutsrqponmlkjih
O'Reilly andponm
Allegro Mark Wil/iams
Él' I.....-==~ 8
~~~ONMLKJIHGFEDCBA
AHGFEDCBA
C C E N T O N P E R F O R M A N C E ZYXWVUTSRQPONMLKJIHGFEDCBA
E A G L E SUMMIT M A R C H aZYXWVUTSRQPONMLKJIHGFEDCBA
:
~ l1 Y L -; _ _
-~---
~IHGFEDCBA ~----------------------
I 1.
--==VUTSRQPONMLKJIHGFEDCBA
d iv
===-
~~..------:.:~
~
__ 36
--ª=--==--=->----
~
~
46
* I
-
112.
<-
'-~
~-~-~
~
~6?68~==
======---------_ _ =- :o 72
===~.~*~

18. ·...---"lzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQ
•
•• ~I0004IHGFEDCBA
orzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
,:.--.:
KEY SIONATURE
AII S's, E's and A's
should be played as S~,
E~and A~ throughout.
ANOTHER NEW NOTE
wil · ~
WHEN LOVE 15 KIND
61aZYXWVUTSRQPONMLKJIHGFEDCBA
f P f
T
•.S N 1 •• Johannes Brahms
HEME FROM YMPHONY O. (1833-1897)
62 *~
f
ALOHA 'OE ..
.~ ¡oy 11.•VUTSRQPONMLKJIHGFEDCBA
,a.r
63~
Oueen Lili'uokalani (Hawaii)
(1838-1917)
~D~
*f~ ~ ffi'*?
~
~ nJ7ll ~ ~~
f ,
MINKA, MINKA
Moderato
Ukrainian Folk Song
f
64
b
f ONMLKJIHGFEDCBA
ACCENT O N THEO RY
KEY RINGS: Circle all notes changed by the key signature.
65

19. ACCENTzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIH
>-zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPON
Play the note stronger.
ORCHESTRATION
Choosing which instruments
playa section of music.
THE KEY MAKES THE DIFFERENCE
66 . ~aZ
f . . . p
, . ;
.' .
JASMINE FLOWER
BLUES AOVENTURE rouen
11
a
"
1
A ~~ro
~ .... ~•.. » .••• ~.~ ...~~
,¡i.Ii > > > »> -
"'
~
11
..1.
~
..,
1 -
fI
- >VUTSRQPONMLKJIHGFEDCBA
.: IHGFEDCBA
_ •.......•..
> I I
~ 1 -1 1 1 1 1 >1
f
68
b
a
fI 1 > »- • ,~ .- ..;.
- .:... > » •• ,...,. .
~ 1 1 - r ito
fI 1 I
¡IIII"
> > > -~
~ » I I 1
> >
b
n t . ONMLKJIHGFEDCBA
A C C EN T O N C R EA TIVITY: Tbls D ld M an
Ch h f h I d American Folk Song
69
f P f .
.p f

20. •
1 & 2 &ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SINGLE EIGHTH NOTE ANO EIGHTH RESTzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Each receives 1;2beat in ~
~. ~and !time. ~
EASY EIOHTHS
11. 112. 1
70~~:~
paZYXWVUTSRQPONMLKJIHGFEDCBA
f f
POLLY WOLLY DOODLE
Allegro American Folk Song
71 Vi . ~HGFE
p ONMLKJIHGFEDCBA f P
V+a'D~)~_~D~_
11
f . ;
Moderato>
Wolfgang A. Mozart
(1756-1791)
MARCH FROM ••RONDO ALLA TURCA Jf
72
f
LA BAMBA .
Mexican Folk SongIHGFEDC
73
f
> > >
~ j~ m
A C C EN T O N FLU TE
74~~'~
P
For more individual technique practice, see page 42. #5.

21. .,wtHt#!M;Ü@@iliuv--~..~~~,..:.e,.:.:..'~c",.~;'
•.. ,-,.,. ,- """'-'-'.,. -,.-','. ,,'ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
TEMPOZYXWVUTSRQPONMLKJIHG
M A R K IN O
V iv a c e zyxwvutsrqponmlkjihgfedcba
Very fast tempo
QpPOSITE DIRECTIONS A: .B~
. r-
75~'i~*~n~aZYXWVUTSRQPONMLKJIHGFEDCBA
f
ACCIDENTAL ENCOUNTER
76~¡~_
P f
CHESTER
William Billings
Andante ~ (1746-1800)
77~e~gf.*J
f p
~n~.
f ~
BELLA BIMBA Italian Folk Song
Moderato 11. 112. 1
78VUTSRQPONMLKJIHGFEDCBA
P
CHOPSTICKS rouen Traditional
11. 112. >
a
1 I
•• 1.
I I I I I > > >1 > > fl.
.
~ > > > I I I » I
f
1 I > > > > > »> > > >
~ I I I I I
I I I I I
f
79
bHGFEDCBA
A C C E N T O N T H E O R Y Fill in the note names, then fill in the fingerings .
80
• ~ ~
• ~ .~
ooOlIOOOCl ooOlIOOOCl OOOlIOOOCl ooOlIOOOCl ooOlloooCl ooOlIOOOClIHGFE
00" 00" 00" 00" 00" 00"

22. •HGFEDCBA
1 1 f f ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
mezzo forte-medium loud
m p mezzo piano-medium softzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
2ZYXWVUTSRQPONMLKJIHGFEDCBA
M U L T IP L E M E A S U R E R E S T
D V N A M IC M A R K IN O S
,
Count: 1 2 3 4 ; 2 2 3 4
I
81
EXTENDED RESTS toueti
8 2 VUTSRQPONMLKJIHGFEDCBA
2 3 ; 2 2 3 aZYXWVUTSRQPONMLKJ
f
23 ;223 m j' p f
KOOKABURRA (Round)
Moderato CD Australian Folk Song
83Vi
m p
Vivace
84'V'irm j'
FINALE FROM "ORPHEUS" (Can-Can) Jacques Offenbach
> (1819-1880)
»
f
m j' f ONMLKJIHGFEDCBA
A C C EN r O N C R EA rIVITY: R hythm ic Im plovisation
Improvise your own rhythms in each measure using only the pitches shown.
'f i
e
I fe I I
e
e I
e
~
8 5
e
"
1 I

23. GALACTIC EPISODEzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
John O'Reilly and
Mark WilliamsHGFEDCB
A C C E N T O N P E R F O R M A N C E
AndanteVUTSRQPONMLKJIHGFEDCBA
m p
Allegro
~~-
m f zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
> > d iv .
ih-j

24. •ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
STACCATO j Play the notezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1¡2 its
normal length.VUTSRQPONMLKJIHGFEDCBA
JI
lONE BUILDER
~ZYXWVUTSRQPONMLKJIHGFEDCBA
1 )
8 6
A SHORT STORY
8 7
m j'
. . .
WILLlAM TELL OVERTURE Gioacchino Rossini
88 =p,ti
~~aZYXWVUTSRQPONMLKJ
f
HATIKVAH
Andante . Israeli National Anthem
M~~ IHG
m f
MINUET Johann Sebastian Bach
Moderato ~ (1685-1750)
90~1~1~
m p
:~.~ONMLKJIHGFEDCBA
A C C EN T O N FLU TE
91~.$~~'*~'$~
m f'
For more individual technique practice. see page 43. #6 & 7.

25. DOTTED OUARTERSZYXWVUTSRQPONMLKJIHGFEDCBA
D O T T E D O U A R T E R N O T E zyxwvutsrqponmlkjihgfedcba
1&2& 1&2&
In ~ ' !and itime, a dotted
quarter note receiveszyxwvutsrqponmlkjihgfedcbaZYXWVUT
11;2 beats.
.. ,,:',") ~
92~~~~VUTSRQPONMLKJIHGFEDCBA
m
Count: 1 & 2 & 3 & 4 &aZYXWVUTSRQPONMLKJIHGFEDCBA
1 I n ,.. ,. ,..
- ..- n
,. . n
tJ
f
r I
1 I . . . . .; . . . >
. . . . . . . .
tJ I I I
. I I I
. I I
ANVIL CHORUS from "IL TROVATORE" rouen
Moderato
a
93
b
f
ALOUETTE
Vivace
Giuseppe Verdi
(1813-1901)
112. d iv . 1
>
French-Canadian Folk Song
SAKURA
95~
Japanese Folk Song
~
m p ~
~
m p rito
WEARING OF THE OREEN
Allegro ~ Irish Folk SongIHGFEDC
96HGFEDCBA
A C C E N T O N T H E O R Y
TAKE A REST: Complete each measure by adding the correct rest, then write in the counting and clap.

26. 0.5. (OALzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
SEO NO) AL FINE
Go back to the sign ~ and
play until Fine.
lrs RAINING, IT'S POURINO
ModeratoVUTSRQPONMLKJIHGFEDCBA
' 1
TraditionalZYXWV
9 9
b
,
m i'HGFEDCBA m p
100
ARIRANO
Andante Korean Folk SongaZYXW
p
m i' p
101
QOE TO Jov from "SVMPHONV No. g" Ludwig van Beethoven
f ONMLKJIHGFEDCBA
A C C EN r D N C R EA rIVlry: F r e e I m p r o " is a tio n zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
102 te0 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.
n

27. TEMPO MARKINO
Largo
D.C. (DA CAPO) AL FINEzyxwvutsrqponmlkjihgfedcbaZYXWVU
Very slow
Go back to the beginning and
play until Fine.
•
EASY DoES ITzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
103~aZYXWVUTSRQPONMLKJIHGFEDCBA
f
112.
:~~. ~VUTSR
m p m p
THEME FROM "NEW WORLO SYMPHONY" Antonin Dvolák
(1841-1904)
p
106
SONO OF THE VOLOA BOATMEN
Andante . Russian Folk Song
1 0 5 _ ~ ~ i~
m p
LIZA JANE
Vivace American Folk Song
~~~
if~·*~-I
~.*~-~
107
HANSEL ANO ORETEL CHORALE Engelbert Humperdinck
¡tii
m p ntONMLKJIHGFEDC
ACCENT O N FLUTE
. > .
108
f m p
For more individual technique practico. see page 43. #8.

28. _¿~;'.;~i:,;.~:K';'ij~~. .
~'"~t;.~~"p~. ~,.; .•.
, _ ,_ _ _
...." ':", ,:1" ,.zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
. - .
. .VUTSRQPONMLKJIHGFEDCBA
m j"
Count: 1 & 2 &
•ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
RHYTHM ANTICS
109
1IHGFEDCBA
& 2 &
SY.~COPATION
Starting a note
that is one beat
or longer on "&." 1 & 2 & 1 & 2 &
, .
LONO TIME Aoo American Folk Song
Allegro 11. 112. 1
110~i~e 1IaZ
f m p
11 I ",----..", 7:::. P.
. . -
~
m j'
I
- 1
f
_1
t'" I
,..
11 I 1 1 2
-
tJ I r I I 1 1 •••••
HAlL, THE CONQUERINO HERO <ouet)
Moderato
a
111
b
m f
112
FOLK FESTIVAL
~
m p f
George F. Handel
(1685-1759)
f
-
p f
WE WISH You A MERRY CHRISTMAS (Duet)
Vivace
, I r : . " '" ' r..::"". .,
..~.- --- .
tJ m } 1 1 1
I I 1 1o.‫ס‬ I 1
11 I 1 I I 1
tJ I I I 1
~ I
a
113
b
m j'ONMLKJIHGFEDCBA
A C C EN T O N TH EO R Y
114 Arrange the following tempo markings
in order from slowest to fastest:
Moderato, Allegro. Andante.
Vivace, largo
Traditional Carol
slowest - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -.. fastest

29. WHEN THE SAINTSZYXWVUTSRQPONMLKJIHGFEDCBA
0 0 MARCHINC INHGFEDCBA
A ONMLKJIHGFEDCBA
CCENT O N PERFO RM ANCEzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQP
/
Arr.zyxwvutsrqponmlkjihgfedcba
by John O'Reilly
and Mark Williams
14 ~
~ '6~·""=1
~~- ~~(I _.!aZYXW
f
~i·
_ i* -
@]
~45 _: . "_"" > -----'0 > > ,,>
~(í~- .. _ -'.~~O

30. ezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
.00100°cJ
00"
--========== ========--
get louder gradually get softer graduallyponmlkjihgfedcbaZYXWVUT
CRESCENDO DIMINUENDO
CROSSINC THE BREAK
e
115~'~'_'~aZYXWVUTSRQPONMLKJIHGFEDCBA
f - -
116
TRUMPET VOLUNTARY rouen
Moderato
Jeremiah Clarke
(1674-1707)
1 ':
b
" I I I I I
- .
.
~VUTSRQPONMLKJIHGFEDCBA
m f
i'"
_ f i'"
....,
rito
"
I
_. I
- I . I 1 ':
~ I I I I I I
m f
f r it. dlV.
a
117
118
FINLANDIA Jean Sibelius
Andante (1865-1957)
<>IHGFEDCBA
~~~-=~~~==-
"7WD
m p -=::::::::: m f = m p ====-p HGFEDCBA
A C C E N T O N C R E A T I V I T Y Create your own composition 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.

31. Common Time-same as i
.. " .•po
TIME SIGNATUREZYXWVUTSRQPONMLKJIHGFEDCBA
e
SHEPHERD'S HEY rouen
AllegroVUTSRQPONMLKJIHGFEDCBA
r = :
English Folk Song
120
BOTANY BAY
ModeratozyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
121 ~~ -== - m p ~
~*~·fiF*~HGFEDCBA
m p
Australian Folk Song
REUBEN ANO RACHEL (ROund)
Vivace r:i' I Traditional
122aZYXWVUTSRQPONMLKJIHGFEDCBA
f
AMAZINO ORACE
123ONMLKJIHGFEDCBA
ACCENT O N FLUTE
~ 11 112. 1
124_----':~
For more individual technique practice, see page 43, #9.

32. •
1IHGFEDCBA
& 2 & 1 & 2 &ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
MORE SVNCOPATION
.sVNCOPATEO RHVTHMS
RUSSIAN SAILORJS DANCE
Moderato
Reinhold Glierezyxw
(1875-1956)
126~~~~~
~~~@
VE BANKS ANO BRAES OF BONNIE DOON rouen
Andante 11.
Scottish Folk Song
112.aZYXWV
1 ':
a
I ZYXWVUTSRQPONMLKJIHGFEDCBA ••• •• #?# ••• •• # ..• :VUTSRQPONMLKJIHGFEDCBA
r »
.
.
.
~ I
-=::::::::=
I
====- I
P m p P p
rito
I I -.... "--....,, I I I
'"
1:)
~ .~
I I I
- I
I I
--
I
p -=:::::::::= m p .=====- p
!:t.
127
b
TOM DOOLEV
~'
American Folk Song
~~~.fi~~
128ONMLKJIHGFEDCBA
ACCENT O N THEO RY Arrange the following dynamics in order from softest to loudest and back: m ¡ f. p .
f · m p ·
129

33. •zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDC
000100041IHGFEDCBA
0(7'ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
KEY SIONATURE
AII B's, E's, A's and D's should be
played as 8~, E], A~ and m throughout.
ON Top OF OLO SMOKY
American Folk Song
~.~~-- ~
'7·~70~rZYXWVUTSRQPONMLKJIHGFEDCBA *
131~·
~.ij.~.&.~
Peter 1. Tchaikovsky
(1840-1893)
Largo rr---'1
r2I
~e~":~VUTSRQPONMLKJIHGFEDCBA
m p -=:::::::::::aZYXWVUTSRQPONMLKJIHGFEDCB
f :::=:::::::==-
MARCH SLAV
132
LAS MAÑANITAS
Mexican Folk Song
p f ~
p f
133
POMP ANO CIRCUMSTANCE
Andante
134VIl r
f
Edward Elgar
(1857-1934)
1,. 11 2.
~~~~r~@ ~~o ~:lf
!Ff =
For more individual technique practice, see paqe 43, #10.

34. '~ ! ~ ~ ; U ( ·.· ." ... : .• .• ...... , .• • . , .....• ....... ~ • ..• .• " .• ....ponmlkjihgfedcbaZYXWVUTSRQ
HUNTERS' CHORUS
from "DER FREISCHÜTZ"zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Carl Maria von Weber
rnzyxwvutsrqponmlkjihg
(1786-1826)HGFEDCB
F L U T E S O L O
Allegro
Flute
" IaZYXWVUTSRQPONMLKJIHGFEDCBA r - . .~
.
~ I
m f
E~ BP E~
, I
-
t.! -t! - : » I . I . I
j j
m i' .;. .;. .;. .,
f
.
.
I I I . . . ... .
Piano
" I
P. ~ ~ :-~.. r . ~ P. ~ ~ b~ t
.
~ I
BP E~ B~ F7
I
(
t.!
s im ile j j :.- :.- J j J J J J •IHGFEDCBA
~j
<
f ·
· ... I I
•
> >
, I
P. . ~ ~ p ~~ > . . .
- n > . . n
• •
~
B~ E~ Cm Fm B~ E~
, I
I
~ ~ J j J
~ ~ ~ .. .. .. ti- 1I 1I
I
·
·
• ... I
• • ...

35. 11z
> >
IaZYXWVUTSRQPONMLKJIHGFEDCBA
f7 ~ ~ >VUTSRQPONMLKJIHGFEDCBA
s : o . . ;;;- ~ ~ I'---~ ~ ponmlkjihgfedcbaZYXWV
."""
~ .
-
~
A ~ /C IHGFEDCBA
E~/B~ B ~ /D E~ A~ E~ B~
, I
I
t.!
•• 11 •• ., 11 11 111 111 •• "i .,¡ •
I ·
· I I
f I > ~ > ~ONMLKJIHGFEDCB
1 '-# ' 1 '-# '
. . . . . . .
.J I ;. •••• I •••• I •••• I
•••• I I
E~ E~ BP
I
Jt.!
~
.,¡ .,¡.,¡.,¡ .,¡.,¡ .,¡ .,¡.,¡.,¡ .,¡.,¡
j j j j
,., ,.,
J f
·
•• I
>
f I !'-.;.. !'-
~ .:.. >
. >
. !'-~.:.« « . « « . !'-~. ~HGFEDCBA
r . P -
• •
. .
.J I I
E~ BP E~ BP
I
,t.! ,., ,., j 1 j j
,., ,., ,., ,., 1 ~
I
·
·
I I I I
I I I
112.
> 11.
f I ~ r . P- ~ . ~ > ~ . . >
.J
11. 112. 1
E~ BP E~ BP E~
I
I
t.!
j ~ j j j j ~ 1 111 1 ~:
> >
I
I ·
·
I I
••

36. 11zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
John Philip Sousaponmlkj
SOUSA SPECTACULAR (1854-1932)
Arr. by John O'Reilly
and Mark Williams
AllegroZYXWVUTSRQPONMLKJIHGFEDCBA '[IJHGFEDCBA
P w y 2 n d t i m e o n l y
_ 678
~y:-aZYXWVUTSRQPONMLKJIHGFEDCBA
f
A C C E N T O N P E R F O R M A N C E
11. 112. ~
f VUTSRQPONMLKJIHGFEDCBA
m f
~
~
= m p IHGFEDCBA
69
- ~ '
====-mf
>
§
f

37. A C C E N T O N S C A L E S zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
B~ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
MAJOR SCALE ANO CHOROSzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
tconcert B~)
V'i ; ~a
r it.ZYXWVUTSRQPONM
F MAJOR SCALE ANO CHOROS (concert F)
Eb MAJOR SCALE ANO CHOROS rconcert E~)
~d~8 ~
Ab MAJOR SCALE ANO CHOROS tconcert A~)
d
. t':
;:Wi~1t ~
r it.
Bb MAJOR SCALE IN THIROS tconcert B~)
Optional
articulations: J J J J. J J J J. J J J J. J J J JVUTSRQPONMLKJIHGFEDCBA
< ; » " ' - ' < ; » < ; » " " ' - " "
F MAJOR SCALE IN THIROS tconcert F)
Eb MAJOR SCALE IN THIROS tconcert E~)
I ,. • ,,- ,.t.. "..et.. ~
~"..
e ~,."-,,- ~,."-. ~
"-
1
•
f- j- f- F- f-
•
@.!
Ab MAJOR SCALE IN THIROS tconcert A~)
CHROMATIC SCALE
~i~~': ~t~: ~

38. 11HGFEDCBA
A ONMLKJIHGFEDCBA
"EN T O N R H YTH M SzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1
2
3
4
5
6
7
8
9
10

39. '-:"11'"" -',
.ponmlk
11
12zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
13
14
15
16
17
18
19ZYXWVUTSRQPONMLKJIHGFEDCBA
2 0

40. ACCENT O N RESTSaZYXWVUTSRQPONMLKJIHGFEDCBA
lV !zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
r * - wr - ~ * 1 - ~ * - 1zyxwv
~ - ij*r*g**~- ~*~
~'. '
2~**1- ~-
tr*~ - l*m*~~1"
.',VUTSRQPONMLKJIHGFEDCBA
.:
3¡E'!- *~ 1- r gg- 1 -~
V * §C * ~ * - ...
1 - §" * W - r *~
. '
4~ - ~*I*~*I - I
~ -I*~*~*~
5_ *- 1- ~ - 1- *§ij * - ~
~ - 1- ~ .. *- 1- *~

41. _ ~ _ _ ' -~ ~ ~ ~ ~ I'/~ :.r';:~ .'¡'b ""''''''o .!.o j,,,."> L -.;. .••••
L J '.# •.•.• -:,:,~ ••..VUTSRQPONMLKJIHGFEDCBA
? • • • • ~ " , . • • •
~ - - • • . • • . • . • . _ . " zyxwvutsrqponmlkjihgfedcbaZYXW
~; -zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONM
.
11
, .ZYXWVUTSRQPONMLKJIHGFEDCBA
" ' ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
.
6~1 2 1~::¡::g3 11
_* *~,: 11 2 I~' ~
'. ,. i
, .
. ..~'.
8_:
V 1 ~
9~ - 1:: ~H: ~Y~ - 1
"
'" 2
fi:wpY:~1 II:*~
10~1l §M - 1- ~ - 1 - ~: 1 - 1
p,- 5=«:- 11 3 11- *~- ~,*~

42. 11ONMLKJIHGFEDCBA
A C C EN T O N FLU TE
1 ~ i~" '~ ..zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDC
'I~" '~!l' '1
~ .. ~
2 __ ~
~~~
3~~ .... ~~~
,',
~ ... ~
~-~
4~ .. ~
" .
~.~.~VUTSRQPONMLKJIHGFEDCBA
5 ~ .,~ M = t~
~~~

43. 11IHGF
6V1
:n ~
7
8
9zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~
lo~~1
~~

44. 11ONMLKJIHGFEDCBA
A CCENT ON CHORALESponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
CONCERT BbzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Andante 1':'
V'i *~aZYXWVUTSRQPONMLKJIHGFEDCBA
'" '" ~ ,. d i~ 1':'
"'" . ~B~VUTSRQP
? ~ m p 0rit.. ~
CONCERTZYXWVUTSRQPONMLKJIHGFEDCBA
F
Largo . :
o I
m p = m f ====-
CONCERT Eb
Andante
m p -=:::::::::::: m f p
~:
~
-= - = m p =. p
. n t .
CONCERT Ab
Andante 1':'
~ -
P
1':'
~- l.
~

45. G L O S S A R Y ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
ACCENTzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
(e- )zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Play the note stronger
ALLEGRO Fast tempo
ANDANTE Moderately slow tempo
BACH, JOHANN SEBASTIAN German composer
(1685-1750)
BAR LINE Divides the staff into measures
BASS CLEF en Also called F clef. The fourth line of
the staff is the note F
BEETHOVEN, LUDWIG VAN German composer
(1770-1827)
BILLlNGS, WILLlAM American composer (1746-1800)
BRAHMS, JOHANNES German composer (1833-1897)
BREATH MARK (,) A suggested place to take a breath
CLARKE, JEREMIAH English composer (1674-1707)
COMMON TIME (C) Same as t time signature
CRESCENDO ( -===) Get louder gradually
D.C. (DA CAPO) AL FINE Go back to the beginniny
and play until Fine
DIMINUENDO ( ===-) Get softer gradually
DIVISI Some players play the top notes while others
play the bottom notes
DOUBLE BAR ( 11) The end of a section of music
D.S. (DAL SEGNO) AL FINE Go back to the sign ~
and play until Fine
DUET A composition with ~arts for two players
DvoRÁK, ANTONIN Czech composer (1841-1904)
DVNAMIC MARKINGS Symbols that indicate loudness
or softness of the music
ELGAR, EDWARD English composer (1857-1934)
FERMATAaZYXWVUTSRQPONMLKJIHGFEDCBA
(1 ':'') Hold the note longer
1ST ANO 2ND ENDINGS Play the 1st ending first time
through, then on the repeat, skip to the 2nd
ending
FLAT (~) Lowers the pitch of a note one half step
FORTEVUTSRQPONMLKJIHGFEDCBA
( f) Loud
FOSTER, STEPHEN American composer (1826-1864)
GLlERE, REINHOLD Russian composer (1875-1956)
GRIEG, EDVARD Norwegian composer (1843-1907)
HANDEL, GEORGE F. English composer of German
birth (1685-1759)
HAVDN, FRANZ JOSEPH Austrian composer
(1732-1809)
HUMPERDINCK, ENGELBERT German composer
(1854-1921 )
INTERNAL REPEAT Repeat only the music between
the signs
KEV SIGNATURE Indicates notes which are to be
flatted or sharped throughout
LARGO Very slow
•
LEDGER LINES Used to extend the staft
LILI'UOKALANI Hawaiian composer (1838-1917)
MEASURE The distance between two bar lines
MEZZO FORTE ( m f) Medium loud
MEZZO PIANO (m p ) Medium soft
MODERATO Medium tempo
MOZART, WOLFGANG A. Austrian composer
(1756-1791)
MULTIPLE MEASURE REST Indicates more than one
measure of rest
NATuRAL (q) Cancels a flat or sharp until the next
bar line
OFFENBACH, JACOUES French composer (1819-1880)
ORCHESTRATION Choosing which instruments playa
section of music
PIANO (p ) Soft
PICK-UP NOTE(s) Note(s) preceding the first
full measure
REPEAT SIGN Play the music again from the beginning
RITARDANDO (RITJ Gradually slow down the tempo
ROSSINI, GIOACCHINO Italian composer (1792-1868)
ROUND Playing the same music beginning at
difterent times
SHARP (#) 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 American composer
(1854-1932)
STACCATO( .) Play the note 1f2 its normal length
STAFF 5 lines and 4 spaces used for writing music
STRAUSS, JOHANN JR. Austrian composer
(1825-1899)
SVNCOPATION Starting a note that is one beat or longer
on U&"
TCHAIKOVSKV, PETER 1. Russian composer
(1840-1893)
TEMPO MARKINGS Terms which indicate the speed of
the music
TIE Joins two notes of the same pitch to make one
long note
TIME SIGNATURE Indicates how many beats are in each
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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