Tuba - Kyrene School District...Tuba This book belongs to: _____ Table of Contents: History 1...
Transcript of Tuba - Kyrene School District...Tuba This book belongs to: _____ Table of Contents: History 1...
Table of Contents: History 1 Instrument assembly and care 2 Tone production problems and remedies 4 Pitch tendencies and adjustments 5 Vocabulary lists 8 How to practice 12 How to read music 14 Rhythm Pyramid 15 Ruler of Time 16 Dynamics 17 Articulations 19 Circle of Fourths/Fifths 20 Key Signature Chart 21 Transposition Chart 22 Intonation - Six step process 23 Balance, blend and intonation 24 Pyramid of sound 25 Fingering chart 26 Warm-up routine 27 Scale book (in order chromatically) 28 Pitch Grids 56 Chorale 1 and 2 62 Chaconne 63 Chorale: A Childhood Hymn 64 Happy Birthday 65 The Star Spangled Banner 66
How to Practice Correctly 1) Try to practice 15 minutes EVERY day.
2) Find a nice, quiet place to practice with NO DISTRACTIONS.
(No TV, iPod, little brothers)
3) SIT ON A CHAIR, not on the end of your bed.
4) USE A MUSIC STAND (do not lay music on floor or bed, or prop up on little brother’s back).
5) PUT A PENCIL ON YOUR STAND so you can mark your mistakes.
6) WARM-UP (whole notes, lip slurs, buzzing) using your best sound.
7) Practice memorizing your assigned scales.
8) Practice your weekly playing test and/or assignment from the book.
9) Practice the hard parts in your band music.
10) Before you are done, play something that you LOVE to play, even if it’s not part of the assignment!
*******************************HINTS******************************
v Circle any mistakes that you make! v On difficult parts, take them apart measure by measure until you learn
them. v If you are getting frustrated, put your instrument away and come back to it
at a later time. Do not throw instrument at little brother!!!
1
Page 12
Putting It All Together:
Get ready to be music-reading STARS!!!
S - SHARPS or flats in the key signatureT - TIME SIGNATURE and TEMPO MARKINGSA - ACCIDENTALS not found in the key signatureR - RHYTHMS; paying special attention to extended rests & difficult or new rhythmsS - SIGNS; including dynamics, articulations, repeats, and endings
Page 14
Rhyt
hm P
yram
id
W
hole
Not
e
Hal
f Not
es
Qua
rter
Not
es
Eigh
th N
otes
Sixt
eent
h N
otes
Thirt
y Se
cond
Not
es
Page 15
43
DYNAMICS The term dynamics is used when discussing how loud or soft the music should be performed. These are dynamic symbols and terms that every musician should know. Symbol Italian Meaning
fff fortississimo Extremely loud (with good tone)
ff fortissimo Very loud
f forte Loud
F mezzo-‐forte Medium loud
P mezzo-‐piano Medium soft
p piano Soft
pp pianissimo Very soft
ppp pianississimo Extremely soft (with good tone)
Page 17
44
sfz sforzando Play with a sudden, strong accent
fp forte-‐piano Suddenly loud and then immediately soft
sfzp sforzando-‐piano Suddenly loud and then immediately soft
GRADUAL DYNAMICS crescendo Gradually increase in volume (cresc.) diminuendo Gradually decrease in volume (dim.) decrescendo Gradually decrease in volume (decresc.)
Page 18
Order of Flats
Order of S
harps
B E A D G C F
F C G D A E B
CIR
CLE
O
F F
OU
RT
HS
CO
NC
ER
T P
ITC
H T
O Y
OU
R N
OT
E
B
b Inst
rum
ents
– C
ount
er-C
lock
wis
e 2
Spot
s
Eb Inst
rum
ents
– C
ount
er-C
lock
wis
e 3
Spot
s
F In
stru
men
ts –
Cou
nter
Clo
ckw
ise
1 Sp
ot
YO
UR
NO
TE
TO
CO
NC
ER
T P
ITC
H
B
b Inst
rum
ents
– C
lock
wis
e 2
Spot
s
Eb Inst
rum
ents
– C
lock
wis
e 3
Spot
s
F In
stru
men
ts –
Clo
ckw
ise
1 Sp
ot
Page 20
9
HANDY-DANDY TRANSPOSITION CHART
Concert (C instruments)
B-‐flat Instruments
E-‐flat Instruments F Instruments
C D A G C#/Db D#/Eb A#/Bb G#/Ab D E B A
D#/Eb F C A#/Bb E F#/Gb C#/Db B F G D C
F#/Gb G#/Ab D#/Eb C#/Db G A E D
G#/Ab A#/Bb F D#/Eb A B F#/Gb E
A#/Bb C G F B C#/Db G#/Ab F#/Gb
Why does written pitch differ from concert pitch? Historically, many instruments have just come to be manufactured that way over time, so music has been written that way. Whatever the reason, it’s your job to know how to transpose from concert pitch to your written pitch, so the director doesn’t have to call out every single instrument’s individual note in rehearsal. As a side note, there are also a handful of instruments that actually sound in a different octave than their written pitch. Piccolo, for example, sounds an octave higher than written. The reason for this is so that the composer doesn’t have to write the entire piccolo part using ledger lines. Bass clarinet, tenor saxophone, and baritone saxophone all sound an octave lower than they are actually written.
Page 22
18
THE PYRAMID OF SOUND
Our model for perfect balance is called “The Pyramid of Sound.” The lower your instrument is in the pyramid, the louder you need to play in order to maintain proper balance within the ensemble’s sound. Think of it like a stereo system. If you were to turn the bass all the way down on your stereo, you wouldn’t like the sound very much. The lower pitched instruments are what give the band a warm, full-‐bodied sound.
Oboe 2nd and 3rd Trumpet
2nd Clarinet French Horn
2nd Alto Saxophone
3rd Clarinet Tenor Saxophone
Baritone/Euphonium 1st and 2nd Trombone
Bass Clarinet Baritone Saxophone
Bassoon 3rd Trombone
Tuba
Piccolo Flute
1st Clarinet 1st Trumpet
1st Alto Saxophone
Page 25
% % % % % % % > % >αα α α α αα α α αα α αα α32 32 32 32 32 32 32 32 32 32
Flu
teM
all
ets
Cla
rin
et1
Tru
mp
et1
Cla
rin
et2
Tru
mp
et2
F.H
orn
Alt
oS
ax
Ten
orS
ax
Ba
ssC
lar.
Tro
mb
one
Ba
rito
ne
Ba
ri.S
ax
Tu
ba
1
ŒŒœ
ŒŒœ
ŒŒœ
ŒŒœ
ŒŒœ
ŒŒœ
ŒŒœ
ŒŒœ
ŒŒœ
ŒŒœ
2 œ œœ
œ œœ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
3 ˙œ
˙œ
œ œœ
œ œœ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
4 œ œœ
œ œœ
−˙ − ˙ −˙ − ˙ −˙ œ˙ œ˙ œ˙
5 ˙œ
˙œ
œ œœ
œ œœ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
6 œ œœ
œ œœ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
˙œ
7 œœœ
œœœ
œ˙ œ˙ œ˙ œ˙ œ˙ œ ˙ œ ˙ œ ˙
8
− œΙœ œ
œ
− œι œ œ
œ
− œι œ œ
œ−œ
ι œ œœ
− ˙ −˙ − ˙ − ˙ − ˙ −˙
9 ˙œ
˙œ
˙œ
˙œ − ˙ −˙ − ˙ − ˙ − ˙ −˙
Ch
aco
nn
efr
om"F
irst
Su
ite
inE
b"by
Gu
stav
Hol
st
ww
w.Ju
stin
Dic
kson
.com
/Ban
d
Page 63
%
%
%
%
%
%
%
%
%>
>
α α
α
α∀
∀
α α
α α
33
33
33
33
33
33
33
33
33
33
33
FluteMallets
Clarinet 1Trumpet 1
Clarinet 2Trumpet 2
F. Horn 1
F. Horn 2
Alto Sax
Tenor Sax
Bass Clar.
Bari. Sax
TromboneBaritone
Tuba
1 ˙ œ œ
˙ œ œ
˙ œ œ
˙ œ œ
˙ ˙˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
˙ ˙
2 œ −˙
œ −˙
œ −˙
œ −˙
œ −˙
œ −˙
œ −˙
œ −˙œ −˙
œ −˙
œ −˙
3 ˙ œ œ
˙ œ œ
œ œ ˙œ œ ˙
˙ ˙˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
˙ ˙
4
œ −˙
œ −˙
œ −˙
œ −˙
œ −˙
œ −˙
œ −˙
œ −˙˙ œ œ
˙ œ œ
˙ œ œ
5 ˙ œ œ
˙ œ œ
˙ œ œ
˙ œ œ
˙ ˙˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
˙ ˙
6 œ ˙ œ
œ ˙ œ
œ ˙ œ
œ ˙ œ
œ ˙ œ
œ ˙ œ
œ ˙ œ
œ ˙ œœ ˙ œ∀
œ ˙ œµ
œ ˙ œµ
7 œ œ œ œ
œ œ œ œ
œ œ ˙œ œ ˙
˙ ˙˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
˙ ˙
8
ϖ
ϖ
ϖ
ϖ
ϖ
ϖ
ϖ
ϖϖ
ϖ
ϖ
Chorale: A Childhood Hymn
www.JustinDickson.com/Band
Page 64
Tuba
© 2014 Star Spangled Music Foundation
™™f
q = 90 A
2 3 4 5
™™mp
1. 2.
6 7 8 9 10
B
11 12 13 14
mf f15 16 17 18
rit. C
19 20 21 22 23
24 25 26 27 28
34?bb
Arr. T.J. Wolfgram
Lyrics:Francis Scott Key(1779-1843)
Music:John Stafford Smith(1750-1836)
STAR SPANGLED MUSIC EDITIONS
Band Edition - Level I
"The Star-Spangled Banner"
,
?bb, ,
?bb,
?bb> > > > >
,
?bb
> > > > > > > >
Rest Breathe
?bb> > >
U
>
Rest Breathe
Ó œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ
œ ™ œj œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ
˙ ™ ˙ œ œ ˙ ™ ˙ œ
œ ™ œj œ ˙ œ œ œ œ œ ˙ œ
œ œ œ œ œ œ œ œ œ œ œn œ ˙ Œ Œ œ œ
œ ™ œj œ œ ˙ ™ Œ Œœ œ œ ™ œj œ ˙ ™
Page 66