A THREE DIMENSIONAL APPROACH TOA BETTER BAND as easy as one-two-three by james d. ployhar & george b. zepp fl tune up-warm up @ key preparation~~ TP EGO ELLE A THREE-DIMENSIONAL APPROACH TO A BETTER BAND As easy as ONE-TWO-THREE! BY JAMES D. PLOYHAR & GEORGE B. ZEPP CONTENTS INTRODUCTION TO HARMONY....... 1. TUNE UP-WARM UP Tuning (Unison and Chords) Lip Slurs (Brasses).... Embouchure Studies (Woodwinds) Chromatic Studies... I. KEY PREPARATION B Instruments Instruments Concert (C) F Instruments Instruments Key of: B F c G Key of: g minor d minor a minor e minor Key of: 5 B F c Key of c minor g minor d minor a minor Key of: F c G D Key of: d minor a minor e minor b minor Key of: & & B F Key of: f minor minor g minor d minor Key of: c G D A Key of: a minor e minor b minor 4 minor Key of: DB aw eB B Key of: bs minor {minor minor g minor Key of: G Ds & Es Key of: minor bb minor f minor minor Key of: G D A E Key of: e minor b minor ft minor ct minor Key of: D A E B Key of: b minor ft minor ct minor gt minor Key of: A E B Ft Key of: ft minor ct minor gt minor dt minor Il, RHYTHM PREPARATION Eights and Sixteenths. Alla Breve (Cut Time) 3/8 Time. 6/8 Time. Triplets. ‘Syncopation. 9/8 Time... 12/8 Time Mixed Meters... © 1983 BELWIN-MILLS PUBLISHING CORP. {All Rights Assigned to and Controlled by ALFRED PUBLISHING CO., INC. All Rights ReservedTO THE STUDENT ‘The 3-D BAND BOOK is a three-dimensional approach to REHEARSAL PREPARATION. This complete TUNE UP-WARM UP program will reduce rehearsal stress and permit greater accomplishment with less effort. The overall preparedness that this book provides will make every rehearsal a more rewarding and enjoyable experience. ‘The book is divided into the following sections: |. TUNE UP-WARM UP ll. KEY PREPARATION lll, RHYTHM PREPARATION In addition, there are three pages of HARMONY and EAR TRAINING which will provide the basic knowledge necessary for relating to the EXERCISES and CHORALES found in the book. By following the instructions as to the use of this book, as explained by your director, you will be able to approach every rehearsal period with confidence and skill CHORALES AMIGHTY FORTRESS IS OUR GOD - Luther/Bach. ce WHEN ON THE CROSS THE SAVIOUR HUNG - J.S. Bach. HOW BRIGHTLY SHINES THE MORNING STAR - Nicolai/Bach... JESUS, PRICELESS TREASURE - J. S. Bach... LET ALL TOGETHER PRAISE OUR GOD - J.S. Bach WHO IS THE MAN? - German Melody... THOU OF GOD THE FATHER - J.S. Bach ‘THE GOD OF ABRAHAM PRAISE - Hebrew Melody... ‘THE BLESSED CHRIST IS RISEN TODAY - Praetorius........ LORD GOD, NOW OPEN WIDE THY HEAVEN - M. Altenburg... WATCHMAN, TELL US OF THE NIGHT - J.S. Bach..... COME, LET US ALL WITH FERVOUR - J.S. Bach. ‘TO GOD WE RENDER THANKS AND PRAISE - M. von Hessen IN PEACE AND JOY I NOW DEPART - J.S. Bach.. HARK! A VOICE SAITH, ALL ARE MORTAL - J.S. Bach ... IN THEE, LORD, HAVE | PUT MY TRUST - J.S. Bach.. © GOD, IN WHOM WE LIVE AND MOVE - Johann Schein. O SACRED HEAD NOW WOUNDED - Hans Leo Hassler..... ‘THE BEAUTEOUS DAY NOW CLOSETH - Heinrich Isaak COME, CHRISTIAN FOLK = J.S. BaCh .ccscennnnnsnnn Student Book 10 PUBLISHED FOR: Conductor B+ Bass Clarinet Baritone Saxophone —_Baritone (Treble Clef) Flute ‘Oboe B» Comet-Trumpet Baritone (Bass Clef) E Clarinet Bassoon Horn in F Bass (Tuba) B Clarinet E+ Alto Saxophone Horn in Es (Meliophone) Drums Alto Clarinet B» Tenor Saxophone Trombone Bells,pages 3 and 4 are for study only) HARMONY IS THE ART OF COMBINING NOTES INTO CHORDS, IT IS ‘THE STUDY OF HOW THE ELEMENTS OF MUSIC ARE PUT TOGETHER. ‘On the piano keyboard pictured above you can see that a HALF STEPis the distance from one note to the note directly above or below it, regardless of whether it is a black key or a white key. Notice that E to Fand B to C are half-steps because there is no black key (half-step) between them. A WHOLE STEP consists of TWO half-steps. Intervals ‘AN INTERVAL IS THE DIFFERENCE IN PITCH BETWEEN TWO NOTES Intervals are identified by numbers. The number name of an interval tells you how much higher its top note is than its lower note. ‘To find the number name of an interval, count the lines and spaces between the notes. Count the bottom note as “one.” The number of the top note tells you the name of the interval, STUDY THE FOLLOWING EXAMPLES: Second Third __ Fourth Fifth Sixth Seventh Octave (8th) 121231234 12345 1234561234567 12345678 Major and Minor Intervals also have SIZE names. The size of an interval is determined by the number of STEPS and HALF- STEPS between the two notes ‘Some intervals (2nd, 3rd, 6th, 7th) can be MAJOR (large) or MINOR. (small). FOR EXAMPLI ‘The notes of a MAJOR (large) 3rd ‘The notes of a MINOR (small) 3rd are TWO WHOLE STEPS apart: are a WHOLE STEP + a HALF STEP apart: iE major 3rd whole whole minor 3rd whole half step step step step ‘The following intervals are thirds. You decide if they are major or minor by counting steps and half-steps. ‘The keyboard picture at the top of the page will tell you which notes are only a half-step apart. MEMORIZE: The intervals that can be MAJOR or MINOR are the 2nd, 3rd, 6th, 7th.4 Perfect Intervals ‘The intervals that are not major or minor are PERFECT. They are the prime, fourth, fifth, and octave. A PRIME is the interval of “one.” It is made by two instruments sounding the same note. An OCTAVE is the interval of an “eighth.” A fifth on any note of the staff (without flats or sharps) is PERFECT. EXCEPTION: The fifth from B to F is diminished. fourth on any note of the staff (without flats or sharps) is PERFECT. EXCEPTION: The fourth from F to B is augmented. Augmented Intervals A PERFECT interval made larger becomes an AUGMENTED interval. A perfect interval may be or by LOWERING made larger by RAISING the BOTTOM note the TOP note a half-step: ahalf-step: Pert. Aug. Perf. Aug. Pert, Aug Perf. Aug Sth Sth 4th 4th ‘hath Sth Sth Diminished Intervals A PERFECT interval made smaller becomes a DIMINISHED interval. A perfect interval may be or by RAISING made smaller by LOWER- the BOTTOM note ING the TOP note a half- a half-step: step: Pert, Dim Perf. Dim. Pert. Dim. Peet. Dim. Sth Sth 4th 4th sik Sth th th Chords ACHORD IS A GROUP OF NOTES WHICH BLEND HARMONIOUSLY WHEN SOUNDED TOGETHER. The simplest chord consists of three notes. It is called a TRIAD. Achord or triad takes its name from the note upon which it is built. That note is called the ROOT of the triad: ‘Reat C chord F chord Gehora ‘The note above the root is called the THIRD of the The note above that is called the 5th of triad, Ke makes an interval of 3rd above the root: =JBEEZ— the triad. It isa Sth above the root: yma #— ‘There are four kinds of triads: Major Minor Augmented Diminished SS SS see CSS major , perf. _ major minor , perf. _ minor major , aug. minor, dim. _ dim. 3rd * Sth ~ triad 3rd * sth ~ triad 3rd * Sth ard * Sth ~ triad Chord Symbols In addition to its letter name a chord or triad has a number. Its number is the step of the scale on which the chord is built. For example, C is the first note of the scale in the key of C. The chord built on C will therefore be the “one” chord in that key. It is identified by the Roman numeral I. ‘Acapital letter means the chord is major. A smal letter means the chord is minor. The VII chord ished. Here are the letter and number names of chords in the key of C: imin-Musical examples on this Introduction to page may be played by rami EAR TRA It will be helpful to you to know the ‘THEORY of music as it is written; but it is even more important to learn to HEAR harmony. Here are some intervals that you will hear often in your music. Continue to review this exercise until you ‘can recognize them by their sound. Listen for them as you play the chorales in this book. Major 3rd. Minor 3rd Perfect 4th Perfect 5th Diminished 5tb dive div. aw. ive fi aly. Minor 6th Major 6th Octave Major 3rd Minor 3rd Octave Al of these intervals are thirds except the last two. As you play the exercise, listen carefully for the differ- ence in sound between major and minor. divigi M om M m M OM (M= major; m = minor) ‘As you play these perfect fifths, try to memorize their characteristic sound. div. div. av. ‘Now put Srds and ths together and listen to the sound of major and minor triads: Perfect 5th Perf. 5th Perf. 5th rT aw i a * av. — co Major Major — minor minor — minor Major 3rd triad 3rd triad 3rd triad* * Inverted (pele down) trad With the root on top. The Principal Chords : ‘The principal chords in any key are the J, the IV, and the V. Ss ‘The [ chord is called the TONIC chord. The V chord is called the DOMINANT chord. = ‘The LV chord is called the SUBDOMINANT, because it is below the dominant. = 2 SUB means UNDNR or BELOW, BVERY NOTE OF THE SCALE CAN BE HARMONIZED USING THESE THREE CHORDS Principal Chords In Major Major minor F min, Bb j. min, 6 (inverted triad) F od eed adv Sd v 1 Principal Chords In Minor ay, aby minor Major min. Maj. bb j: min, e inverted triad). £ Grd Bed i Sed Ee Vv Sed ae Hit ‘Notice that in a MAJOR key all of the principal chords are MAJOR. Ina MINOR key the I and 1 chords are MINOR, but the V chord is MAJOR. FL 2865I. Tune Up - Warm Up For tuning purposes the band is divided into four basic groups. Group III includes Baritones, Trombones, Bassoons, Horns, Tenor Saxophones and Eb Alto Clarinets. UNISON TUNING is accomplished by utilizing measures 1 and 2 of each line, A reliable instrument or tuning device should be used to tune the instruments in Group IV. Other groups are then added to this unison, ‘The tendency of the note to be flat or sharp is indicated by a symbol to the right of the note. Students should adjust pitches accordingly. The Arabic numerals to the left of the note indicate the note’s po: within the chord. Key of F Major (Bb Concert) as Group III 1 Vv yi ay Key of C Major (F Concert) I Vv vi I —_————— Key of Eb Major (Ab Concert) I Vv yi I — Key of G Major (C Concert) I IV vt 1 Key of Ab Major (Db Concert) I Iv vt I Key of Db Major (Gb Concert) as I Iv vi I ——, Key of D Major (G Concert) Key of A Major (D Concert) Key of E Major (A Concert)Lip Slurs (Brasses) BL.2868: Embouchure Studies (Woodwinds) G. ares Dominant Seventh Arpeggios (Woodwinds) BL.2865,Chromatic Exercise For best results the band should play the entire page without stopping. However, the conductor may choose to rehearse one or more lines of chromatic scales that are appropriate to the rehearsal piece. Apply various articulations to these scales. BL. 2868II. Key Preparation Key of F Major (B> Concert) Scale in Half Notes 1 7 Scale in Eighth Notes , at iS 3 q Sooo Ci eeas Scale Cie Scale Skills simile Principal chords in the key of F Major. Try to identify them in the chorale. I Iv aw. av. av. diy. A Mighty Fortress Is Our God M, Luther Arranged by JS Bach a a7 BL. 2865Key of D Minor - (G Minor Concert) Seale in Half Notes 1 : Harmony 2 = Scale in Eighth Notes (Harmonic Form) 3 & Scale in Eighth Notes (Melodic Form) 4 a q =a Scale Skills Ployhar —— Kas Principal chords in the key of D Minor. Try to identify them in the chorale. I iv. av div. atv. 6 S = When On The Cross The Saviour Hung J.8. Bach BL. 2865» Key of Bb Major (B> Concert) Scale in Halt Notes Harmony... Scale in Bighth Notes O4 3 gS Seale in Thirds | Scale Skills < > ay —* Principal chords in the key of Bb Major. Try to identify them in the chorale. I Vv diy. av. iv) 6 How Brightly Shines The Morning Star P. Nicolai Arranged by 3. Bach a a BL. 2865Key of G Minor (C Minor Concert) Scale in Half Notes Harmony div. Scale in Eighth Notes (Harmonic Form) 3 ‘ z Scale in Eighth Notes (Melodic Form) 4 = 4 ge ites el +H 4 av 4 Ne NS Principal chords in the key of G Minor. Try to identify them in the chorale. aiv. E aiv IV div. V ext Jesus, Priceless Treasure oo BL. 206814 Key of C Major (F Concert) Scale in Half Notes 1 2 Scale in Eighth Notes 3 = Scale in Thirds 4 _ — \ 4 eee ee = FRAG Ce eP Shan gee Scale Skills Principal chords in the key of C Major. Try to identify them in the chorale. ay. E aivlV av. : div. Let All Together Praise Our God JS. Bach BL. 2865.Key of A Minor a (D Minor Concert) Scale in Half Notes Scale in Eighth Notes (Harmonie Form) » esa ceenthieesaes a oe Scale in Eighth Notes (Melodic Form) tl 2 3 aes Scale Skills — Principal chords in the key of A Minor. Try to identify them in the chorale, T Vv v I ay. div. ai. Who Is The Man? German Melody a a BL. 2806ad Key of Eb Major (A> Concert) Scale in Half Notes 1 : Harmony av. Scale in Eighth Notes Scale in Thirds Scale Skills Principal chords in the key of E> Major. Try to identify them in the chorale. I v v av. av. aiv, iv, O Thou Of God The Father JS. BachKey of C Minor (F Minor Concert) Scale in Half Notes Harmony 4 Scale in Eighth Notes (Harmonic Form) Scale in vende? (Melodic Form) =e = SS , - a Scale Skills cer tae uel ae GSS —— q —_ Principal chords in the key of C Minor. Try to identify them in the chorale. I Vv div. aiv. The God Of Abraham Praise Hebrew Melody EL. 2865* Key of G Major (C Concert) Seale in Halt Notes Scale in Eighth Notes Scale Skills Lf aA Principal chords in the key of G Major. Try to identify them in the chorale. av, avlV av. div. I The Blessed Christ Is Risen Today Praetorius aKey of E Minor . (A Minor Concert) Scale in Half Notes 1 = Scale in Eighth Notes (Harmonic Form) aaa et Scale in Eighth Notes (Melodic Form) 4 sa co E PS Scale Skills as! o> Principal chords in the key of E Minor. Try to identify them in the chorale. I Vv vi I ive dive a div. av. Lord God, Now Open Wide Thy Heaven M. Altenburg fo} a BL 2505Key of Ab Major (Db Concert) Scale in Half Notes i Harmony, 2 Scale in Eighth Notes 3 4 Scale Skills See noae? Principal chords in the key of Ab Major. Try to identify them in the chorale, z aay diy, V aww. Watchman, Tell Us Of The Night J.S. Bach aKey of F Minor " (Bb Minor Concert) Scale in Half Notes 1 2 Eighth Notes (Harmonic Form) 3 sa saver tp eras go Scale in Eighth Notes (Melodic Form) | pee Fey Scale Skills Principal chords in the key of F Minor. Try to identify them in the chorale, I div. div. a = 8 8 Come, Let Us All With Fervour av.V I div. 4.8. Bach a BL. 286522 . Key of D> Major (G> Concert) Scale in Halt Notes 1 Harmony an 2 = ‘Scale in Eighth Notes 3 em. a — gave see Scale in Thirds 4 Scale Skills Principal chords in the key of Db Major. Try to identify them in the chorale. I Iv av. av. av. av. To God We Render Thanks And Praise M. von Hessen a BL. 2885Key of Bb Minor . (E> Minor Concert) Scale in Half Notes Scale in Eighth Notes (Harmonic Form) Scale in Eighth Notes (Melodic Form) Scale Skills Moderato (in 2) rit. Ss Principal chords in the key of Bb Minor. Try to identify them in the chorale. Vv giv. ay. ay. div. In Peace And Joy I Now Depart J.8. Bach a BL.2865Key of D Major (G Concert) Scale in Half Notes Scale in Eighth Notes EEEE ==: =A 3 30" Scale in Thirds Scale Skills Principla chords in the key of D Major. Try to identify them in the chorale. I iv div. ay. div. Hark! A Voice Saith, All Are Mortal JS. Bach a a BL. 2965Key of B Minor % (E Minor Concert) Scale in Half Notes Scale in Eighth Notes (Harmonie Form) 3 Fee essere: Scale in Eighth Notes (Melodic Form) Bi : "SSE Ss Principal chords in the key of B Minor. Try to identify them in the chorale, ai. t aiyV aw, In Thee, Lord, Have I Put My Trust aD 3.8. Bach EL. 286526 Key of A Major Scale in Half Notes (D Concert) 1 ee Harmony av. 2 Scale in Eighth Notes et fe : : Heegepte Re ED aie ; 7 eA Seale in Thirds 4 Scale Skills Kopprasch Principal chords in the key of A Major. Try to identify them in the chorale. iV div. aw, div. O God, In Whom We Live And Move Johann Schein a a. 27 Key of F# Minor (B Minor Concert) Scale in Half Notes Harmony dive f Scale in Eighth Notes (Harmonic Form) Scr eee E at ° qos Priprsaag fg bageresg tg Scale in Eighth Notes (Melodic Form) Scale Skills Principal chords in the key of F} Minor. Try to identify them in the chorale. I Vv v I div, div. diy. av, O Sacred Head Now Wounded Hans Leo Hassler a BL. 286528 Key of E Major Scale in Half Notes (A Concert) 1 Harmony ‘iv. 2 Scale in Bighth Notes 3 =— co os == E #: 4 By er re se Scale in Thirds 4 Scale Skills Principal chords in the key of E Major, Try to identify them in the chorale, I Vv av. div. div. The Beauteous Day Now Closeth a BL. 2888,Key of C# Minor » (F# Minor Concert) Scale in Halt Notes Harmony, Scale in Eighth Notes (Harmonic Form) 3 = eet ighth Notes (Melodic Form) § Scale Skills Principal chords in the key of C# Minor. Try to identify them in the chorale. I aivlV v I div. div. av. Come, Christian Folk a 4.8. Bach30 If. Rhythm Preparation The conductor will select one or more measures from the following rhythms that are appropriate to the rehearsal piece. Play each measure (or measures) on every tone of a given scale, Each of the next eight pages contains two unison RHYTHM STUDIES. Practice each study separately. ‘Then, for an added challenge, divide the band or class into two groups. Half the band plays the top study while the other half plays the bottom study. You may also practice them as DUETS with other students. a and Steenths (ay! (BI 1 PRE RR ERE SR {cl Rhythm Study Moderato f tl Rhythm Study ModeratoAlla Breve * (Cut Time) al tcl 1) (BI FI (cI HI 0 ul K) oo D Rhythm Study Moderato nf Rhythm Study Moderato mf BL. 2885Three Eight Time (A) BI (c} (E) (F] 1 ge poy) yb eS ( H) ti] J) (K] {L] JB) Aya yay 4 Rhythm Study Moderato (in 3) SA nf (B) ee SS NSF 2 3 Lge FN po Rhythm Study Moderato (in 3) my if 3 ~~ (Al SL Ee} a SLL” _o Se Sa SF BL. 286533 Six Eight Time [A] {B] [c] [D] (E} (FI » yy by oy [G] {H] 0) (J) (K] {L} oy BB By Rhythm Study Moderato (in 2) RR NRL NR Rhythm Study Moderato (in 2) a BL. 2868Triplets tal 2 Bs (CLs 3 Ms (E) 3 1 4 TO TL A yn yy oy F) (cla (Ws, 3 lg tl 2 | - ls Rhythm Study Moderato obs SEN Rhythm Study Moderato df 3 3 (A) 3-3535 Syncopation 1 EYL Lb bd be bd prittop tt dpre roy » Rhythm Study Various tempos mf Rhythm Study Various tempos mf BL. 2865Nine Eight Time {A} {B} {C] {D] 1 ditt ybi ds ym my pm. {E] Py Rhythm Study Andante (in 3) Rhythm Study Andante (in 3) EL. 786537 Twelve Eight Time 1 ge ye yy Rhythm Study Andante tind) mf ° eS, BL 286838 Mixed Meters In much of the music of the 20th century a change in the TIME SIGNATURE or METER may also require a change in the BEAT or PULSE, In the following example the duration or value of the eighth-note remains the same, The conductor will normally give ONE BEAT (pulse) to the 3 measure, but the duration of the beat (pulse) will be one eighth-note longer than the regular beat (pulse) of the 4 measure or the 3 measure, THE g MEASURE REQUIRES AN IRREGULAR BEAT OR PULSE. ah aed All of equal value. —_———_— eee ee (enna bee J J 4d Bent: t 1 2 3 4 ae : 7: 2 ' 1 2 1 Rhythm Study ded ded d-d In the following example the duration or value of the eighth-note remains the same. The conductor will normally give TWO BEATS (pulses) to the 8 measure. Two eighth-notes will receive a regular beat (pulse) and three eighth-notes will receive an irregular beat (pulse) which is one eighth-note longer in duration. aa d=0 ———— Allof equal value. ————— er gd __j iJ J 4 1 1 1 2 3 4 1 2 Rhythm Study o-d d=d odIn the following example the conductor will normally give THREE BEATS (pulses) to the measure. Four eighth-notes will receive two regular beats (pulses) and three eighth-notes will receive an irregular beat (pulse) which is one eighth-note longer in duration, \__— Allof equal value. Beat; ——¢- 41 114-1 1 1 2 3 4 1 2 4d dy 1 2 Rhythm Study d=) In the following example the duration or value of the sixteenth-note remains the same. The conductor will normally give ONE BEAT (pulse) to the 8 measure, but the duration of the beat (pulse) will be one six- teenth-note shorter than the regular beat (pulse) of the 4 measure or the } measure. The ;3, measure re- aquies an irregular beat ot pulse. oo a) 3 = 5 (—- Alllof equal value. + 144,234 4 i 1 Rhythm Study = 4 Beat: ar 7 ee whe Be me L26840 In the following example the duration or value of the sixteenth-note remains the same. The conductor will normally give ONE BEAT (pulse) to the 4% measure, but the duration of the beat (pulse) willbe one sxc teenth-note longer than the regular beat (pulse) of the f ‘measure or the 7 measure, The ;9, measure requires an irregular beat or pulse. 5-4 5-3 Lat of equal value, ———______1. 7 | 4 dy ae vest H ; i He ipa 2 UF aL Rhythm Study 4A aA In the following example the duration or value of the sixteenth-note remains the same. The conductor will normally give TWO BEATS (pulses) to the 1's measure. The four sixteenth-notes that are beamed together will receive a regular beat, but the three sixteenth-notes that are beamed together will receive a beat or pulse that is one sixteenth-note shorter than the regular beat. 5-8 ‘A All of equal value. , i 1 J eee) neem, een iii 1 a + 2 3 4 his 1 20 4 2 '1 2 1 Rhythm Study 3