Some teachers like to separate the instruments when teaching the frst tones. This page is intended for that use; it may also supplement the work of the early lessons. The various instruments cannot all play together on this page, nor are the tones necessarily those used in the early lessons. (See Conductor's Book for more information.) ‘Any one of these tones may be learned first; as soon as it can be produced with cgnfidente, °S, tones should be added until all ean be played and zea. Apo FIVE BEGINNING TONES (To be learned in any order) ° . 3 ° e B ° e 2 8 S. o ° 3 ° 8 8 8 8 8 8 8 8 When you have learned a tone, you will — (a) know its leter name (6) know its fingering (2) Know the postion of the note on the stat —-—(@)_ be able to produce the tone with a nice sound FIRST MUSIC READING 6 All of the above tones should first be practiced with the rhythm of No. 6. Whole note Whole rest Notice that the whole rest hangs under a line, 4 beats 4 beats 1 8 Name and finger the notes before you play. Prepare the fingering during the rest. 9 10 [Always try to produce a clear tone. Be sure that you tongue to start the tone. Good position of the hands is important. Adjust the neck strap so the head is erect. 15 Quarter notes 1 beat each Play the 4 quarter notes in one breath. Copytight © 1960 by Mills Musi, lnc, 1619 Broadway, New York 19, N.Y. ternational Copyright Secured "Made in USA ‘Ail Rights Reserved oc The Beish Enpie Ending Cauia And Aula — ils Mase Ue Ail Hows, Denmark Suet, Lon W.G2, Dagland Tr The Benelux Countiee Editions Mills Music Belgian, 13 Rue de ln Madeleine, Brass, Belgium For Sprin and Portugal — Editorial Mills Musi Fapanola, Aela 70, Madrid, Spain ae enh ant Conte ar He tia e tor Mil Mil ids Avenida Toirance 1123, Sao Paul, BrailAva Z OUR FIRST TONE coclooe cocloes Whole note Whole rest Notice that the whole rest hangs under the line. 4 beats 4 beats 2 OUR SECOND TONE Memorize the names and fingerings of notes when they are first used. 3 WHICH IS WHICH? Be sure that you “tongue” to start each tone, 4 A LONG JOURNEY The bars drawn through the staff are used to divide the music into measures. How many measures are there in No. 4? A double bar is placed after the last measure. QUARTER NOTES Quarter notes T beat each Play the four quarter notes in one breath. QUARTER RESTS 5 7 \ Quarter rests T beat each ‘The small numbers above the staff help find measures quickly. TAKE YOUR TURN 5 Always count rests carefully, 3 Practice both No. 7 and No. 8; then let some of the class play No. 7 while others play No. 8. The heavy line connecting No. 7 and No. 8 shows that they may be played together.A Sie Z. A NEW TONE 3 5 4 TAKE A STEP “The distance from a space to a neighboring line, or from a line to a neighboring space, is called a “step.” ‘TRY A SKIP 3 3 5 a 9 1 ‘Any distance greater than a step is known as a “skip.” THREE NEIGHBORS 3 5 4 9 ‘Name and finger the notes before you play. STEP UP — STEP DOWN 5 F 1 Name the highest note in this tune. Name the lowest note. What are the notes in the 5th measure? HALF NOTES 6 3 5 1 Half notes Do not take a breath between the half notes. 2 beats STUDY IN BREATHING 5 Correct breathing habits should be formed now. Your teacher will show how breath should be taken when. playing your instrument. 8 HALF RESTS Hi Pica Notice that the half rest lies on the top of the line. 3 After No. 8 and No. 9 can be played correctly, divide the class and try them together.A Save F 3 Dotted half note 8 beats Compare No. 1 with No. 2. 3 BREATH oe Repeat sign \y Try to play the three half notes in one breath. How should breath be taken when playing your instrument? a EYE CONTROL 5 To keep your place in the music, look at each note or rest as you count it. THE RACE 5 Practice this tune slowly until it becomes easy, then see how fast you can go. SOLOIST TRYOUT © @ Choose a different soloist or group to play each of these little tunes, then all play on the repeat, 1 LET’S HARMONIZE 5 When Nos. 7 and 8 are played together, the first measure will be in unison and the second harmonized. Why? What abcut the other measures? Listen for the sound of unison and harmony as you play. 3 3 1 MAKE UP YOUR MIND 9 (This tune contains everything we have learned this far.) 3 5 1 ‘Think before you play—Think as you play~Don’t guess! -ae: 8 1 ak A NEW TONE FROM UNISON TO HARMONY 2 >. 3 @ 5 @ 1 The sign @ is used in this book to show you where harmony has been introduced. If the class does not contain many different instruments, the harmony may not be heard. OUR FIRST TIE 3 ; mE 1 &— ‘The curved line (ti) tells you to cary the sound over into the second note, Do not tongue the second note. Keep your breath steady thoughout the te REACHING UPWARD “5 @ 4 \ FIND THAT TONE 5 REST AWHILE 5 OUR SOLOISTS Solo or Duet Tutti Solo or Duet Tutti 7, 5 Measures 1 & 2 and 5 & 6 may be played by pupils chosen by the teacher. The word “Tutti together.” UP THE STEPS 5 ® . A comma calls for a quick breath. COMPLETE REVIEW OF NOTES AND RESTS 9 3 5 1 ® Give the value name of each note and rest, and the number of beats it receives, Next, give the letter name and show the fingering. Then, try to play this review without a mistake1 \ 4 Sao x WE LEARN TO SLUR a 5 The slur is a curved line connecting notes of different pitch. Tongue only the first note, Keep the breath steady throughout the slur. 2 A LONGER SLUR 5 7 eo ‘Take enough breath to complete the slur with a full tone, 3 A GAME OF TAG 5 After No. 8 and No. 4 have been practiced separately, be sure to divide the class and play them together. Try A exchanging parts on the repeat. 3 5 1 DRIVE WITH CARE 2 3 Don't forget the slurs. ORGAN PRELUDE ~ a3 a5 ’ 6 (Melody) T (Ist ending) 2 (@nd ending) | (Harmony) ® MARY HAD A LITTLE LAMB 8, (stelody) : . vo Folk song Take a quick breath in measure 6 where marked. Shorten the note before the comma in order to have time for a breath. (Harmony) oteAone E NEW TONES 5 cooioes THE SEE-SAW 5 SLURS 5 Notice the slurs. What do you find in the last measure? MIND YOUR BUSINESS 4a BS — 5 ‘When tonguing, use the tip of the tongue. Do not move your chin or the face muscles. 3 5 1 6 ® SMOOTH SAILING So 3 st 5. ooo _—™ THE AUTO HORN ® 5 Years ago some automobile horns played little tunes; the tune of the Ist measure was often heard. OLD MACDONALD HAD A FARM American folk song . 5 ® 3 Observe breath marks. 29 u os Always count rests carefully. oar 194A Sue 7 ANEW TIME SIGNATURE 1, f 3 on ‘Three-four time — also known as 8/4 measure, or 3/4 meter. Each measure will contain the equal of 8 quarter notes. e e sou 913 15 AN EASY WALTZ The first note is called a “pick-up” note; it was borrowed from the last measure. At the beginning and at the end we have “incomplete measures. THE BEGINNER’S POLKA 4 5 7 ve 2/4 time will have the equal of 2 quarter notes in each measure. 13 15 Fu I RIDE OLD PAINT ‘Traditional cowboy song 5 3 Watch for the slurs. A double bar with dots at the right shows the beginning of a repeated section. 4 9 un ® T 7 2A Sax Y OUR GRANDFATHER'S CLOCK Many homes and public buildings have clocks which play a chime melody every 15 minutes — the melody becomes longer as the hour passes. Grandfather's clocks usually play the melodies given here. Try to imagine the sound of chimes as you play. 41, 15 minutes past the hour 30 minutes past the hour 45 minutes past the hour 3 48 pa ah 4 The new hour 5, With spirit INDEPENDENCE MARCH S. 9 5 1 — ® REVIEW OF ALL TONES LEARNED 6 (For review and individual testing) 3 5 Only alto saxophones and baritone saxophones can play together on this review. 4 9 TEST OF NOTATION USED 5 ; 6 1 8 ® 10 3 4 a 2 13 uu 6 16 A 7 7 Whole note Dotted half note Breath mark Slur 2 quarters Whole rest Quarter note Double bar Tie in 2 measure Half note Quarter rest (Clef sign Repeat 3 quarters Half rest Single bar ‘Endings in @ measure 4 quarters jin @ measureA Sine q GOING UP 5 2, Slowly SAFE LANDINGS ‘Try for a clean start on each tone. OUR FIRST KEY SIGNATURE 58 oe 3,f If sharps or flats are placed at the beginning, they apply to all notes in the piece. Often there will be no sharps or flats in the key signature; you must always look to be sure, however. Name the notes before you play. THE DOUBLE-JOINTED PUMPKIN EATER AL Lightly 3 5 Folk song, Both No. 4 and No. 5 must be played in order to hear the melody. Also, try playing both parts at once. (Melody) MARCH OF THE PATRIOTS § Lively 5 4 E Iz (Harmony) MARCH OF THE PATRIOTS Lively 1 vé -19-A Sine (0 MELODY IN MINOR 5 It is usually easy to hear the difference between minor and major melodies. Listen for this minor or major sound as you play No. 1 and No. 2. MELODY IN MAJOR 5 @ A PLEASANT STROLL Melody 5 Name the notes before you play. uw A PLEASANT STROLL 4. Harmony . Name the notes before you play. u 13 2 15 THE BAND CONTEST 7 5 — Observe the slurs carefully. 3 1 YANKEE DOODLE 3 Early American song Go slowly at first, then try for speed. 5AP Sage l/ A NEW TONE a3 a5 What does the Key signature call for? The time signature? Name the new tone, LAZY LOU 5 2, Quietly THE LONESOME COWBOY 8, (Melody part) 3 The Ist measure is incomplete, What is missing? Fermata - pause hold - bird’s eye 1 a am 9 u THE LONESOME COWBOY 5 4 g(Hlemony part) 1 3 NIMBLE JACK 5, With pep ® GOODBYE, MY LOVER, GOODBYE Old college song a ‘The “cut” (/) in measure 6 calls for a short break in the music. Notice the new time signature in measure 7. mye 9A Sax (2 xx perros poor % , 8 Folk song “DS. al Fine” means go back to the sign ($$) and play to “Fine,” which means “finish.” —> Fine 9 n —> DS. al Fine A TISKET, A TASKET 2 * 3 2 5 Folk song GOODBYE, MY LOVER, GOODBYE This is a harmony part for use with the melody in Lesson 11. ® 3 3 5 —— 4 Ss THE BEAR WENT OVER THE MOUNTAIN Folk song t 4 2 + 5 DAS. al Fine REVIEW OF ALL TONES LEARNED (For review and individual testing) 5 or ‘This part cannot be played with other instruments. ou 131 \ A natural sign () is used to cancel the effect of a sharp or flat. DOWN GO THE BASSES 2 ®@ 5 ‘The word “basses” sometimes applies to the bass horns; at other times it refers to all the low instruments. AN AUTUMN DAY 3 SLUR STUDY 5 THE GRAND ENTRY (A Processional March) 3 5 With dignity ® 1 Folk tune 6 Gaily LITTLE JACK HORNER 5A one /Y CLARINETS DOWN 5 D.C. al Fine REVIEW OF ALL TONES LEARNED (For review and individual testing) 2 ‘This part cannot be played with other instruments. 1 9WHO ARE YOU? 2, . Mysteriously 3 A SCALE MELODY 6 PLEASANT MEMORIES, WALTZ 4, (Melody) 5 1 Don’t forget the key signature. Name the notes, then try to play each note distinctly. u 4 5 (Harmony) PLEASANT MEMORIES, WALTZ 5 3 1 29 ‘Name the notes before you play. fi 7 13 u Folk tune @, Jovfully HELLI, HELLO 1@ 5Ae Sue 18 INTRODUCTION TO EIGHTH NOTES ‘Two cighth notes are played in the time of a quarter note, The eighth notes must be equal in length with the first one sounding exactly on the beat. Learn these four studies thoroughly and review them often, ‘Also, play all four without any pause between them—omit the repeats 1, \ Repeat many times ‘Beat ¥ Y Y v Repeat many times THE TIMEKEEPER 5 Let some of the class play Nos. 1 through 4 without repeats while others play No. 5. HIGH FLYERS 5 1 AN EIGHTH NOTE MELODY 5@ Point out where each beat will fall, then be sure you are right when you play. a LEGEND OF THE GHOSTS 5 9 J A BUSY HIGHWAY T z A large “GC” is often used to show 4/4 time. It is sometimes called “Common Time.” 3 1 5I 4 Sax e 14 colo; cocioce Ree THE CHIMES RING OUT 95 * 27 1, Majestically = = = Play with a full tone. Tongue each note well, then let it fade a little, 3, 3 5 1@ BY THE QUIET LAKE 7 5 Play smoothly, keeping the tones about equal in volume. 8 ut 13 1s 3/4 ACCOMPANIMENT (May be used with “Hei-li, Hei-lo” in Lesson 17) 4 3 5 1 Keep in mind that the first rest is the 8rd beat of an incomplete measure. 2 u 13 15 3/4 ACCOMPANIMENT 5 Bass part 1 3 5 Nos. 4 and 5 are much harder than they look. Keep the beats steady. u 13 9 BAA! BAA! BLACK SHEEP ‘Traditional 5 a 9 Be sure to Keep the beats steady when you come to the eighth notes. i4 Sax Ze FAITH OF OUR FATHERS Melody H. F. Hemy 1 3 5 1 FAITH OF OUR FATHERS 3 5 1 Harmony 2, @ REVIEW OF ALL TONES LEARNED (For review and individual testing) 5 ‘This part cannot be played with other instruments. 8 uu 13loc 4 Soe 2/ VESPER BELLS & o coolced 4,, With a slow, steady beat 3 Play with a full tone. SLUR MELODY 2, 3 5 1 \Se Nts See NSS 3 HALF-STEP MEDITATION 5 Name the notes before you play. Be careful with the first note in measures 2, 6, 10, and 14. uw 9 Fa 15 ‘Melody part HAPPY HOLIDAY A, Playfully 7 A D a More than two 8th notes are often connected together as in the Ist measure, However, continue to think of 8th notes by two's ° _ nL 13 5 rand part HAPPY HOLIDAY COURTLY PROMENADE With dignity, but not too slow 5 = a ‘Tongue each note well and separate it from its neighbors. 3 @ 5 1® 7CHANT OF THE GALLEY SLAVES 3, Mournfully +s +s On Fine Play with a full clear tone. Observe the commas for breath > oan 13 9 D.C. al Fine THE DEEP-SEA DIVER 4 5 5 Name and finger the notes before you play. 4 Lively THERE’S MUSIC IN THE AIR @ 3 ’ 5 George F. Root ~25-o ° fo] o 3 8 8 A Sae ZF A NEW KEY SIGNATURE 5 A SCALE MELODY o5 25. ‘Try to take your breath only at breath marks or during rests in this melody. oar 933 15 CADETS ON PARADE, MARCH 1 AL Melody part 3 5 — 8 CADETS ON PARADE, MARCH 1 5 Harmony part @ 25. Folk tune TEN LITTLE INDIANS 3 -26-A Saye ZA J, OVER THE RIVER AND THROUGH THE WOODS ® os Traditional Notice the 6/4 time; you will now have six beats in each measure, 5 1 Pep Song FIGHT ON, FOR OUR SCHOOL 3 5 REVIEW OF ALL TONES LEARNED 3 (For review and individual testing) 3 ‘This part cannot be played with other instruments. 1 ~27-A Sone ZF — Three Tunes Using Moving Eighth Notes In these tunes, the second eighth note often moves to a new fingering. When this is true, be careful to count, or beat, correctly. (Study the 2nd measure of Nos. 1, 2, & 3.) ‘These tunes show how it is possible to change a few notes when trying to improve a melody. Which ‘melody do you like best? Can you make other changes and write your melody? FIRST TUNE a SECOND TUNE 2 3 THIRD TUNE 3 5. 1 Sometimes notes are crowded together as in No. 8. When this is true, group them correctly with your eyes — you must not think of them as a jumble of notes. ENCHANTED ISLE 3 284 Saye 26 LAND OF MYSTERY 1 PP ee eee eee 3 LIGHTHEARTED YOUTH 5 4 What different key signatures have we used up to this lesson? PI uu 0 4 SHORTNIN’ paeaw American folk song AN OLD FRIEND 5 Practice both No. 5 and No. 6 carefully. Can you play from both parts to make the complete melody? 1, @ 6 3 5 YOU NAME IT 3 Be careful with the beating or counting. Accuracy is more important than speed. 1 ~29-° ° 8 A See 27 SN ° A NEW TONE FOR CLARINETS 1 by . 6 by by 2 A NEW TONE FOR CORNETS AND TRUMPETS 5 @ 1 SUMMER DAY tl Quietly . Be sure that you slur as written. CHROMATIC ETUDE 3 5 1 AL Slowly and smoothly Name the notes before you play. Finger the notes as you name them. 5 AN OLD FAVORITE 3 5 1 A dot placed over or under a note tells you to make the tone shorter without changing the speed of the beat. A dash tells you to hold the tone to its full length. PAUL REVERE’S RIDE As fast ble 7, 4 fat po voor be a ‘Tongue lightly, using a pointed tongue. Don't move your chin, An accompaniment for this melody is on page 32. a. ri Le pee 1 15 FineA San 25 SYNCOPATED SCALE 5 FLOATING CLOUDS 3 gradually slower HICKORY DICKORY DOCK 5 Traditional MISS rey LONG Old minstrel song 5 -31-Saye ‘The four melodies on this page make use of all notes and key signatures taught in the book. They are to be used for testing as well as review. Only like instruments may play together on these melodies. MELODY IN D MAJOR Concert key: F major 5 Concert key: Bh major MELODY IN G MAJOR a 5 4 MELODY IN € MAJOR 9 3. Concert key: Eh major » MELODY IN F MAJOR Concert key: Ap major co 4 PAUL REVERE’S RIDE (An accompaniment part for use with the melody in Lesson 27) 5, @ 3 1 a 5