book 1 features00868051 cello 00868052 string bass 00868053 piano accompaniment $12.99 ... on the d...

BOOK 1 FEATURES

CD AND DVD IN EVERY STUDENT BOOK

The CD covers the first 71 exercises. From the very beginning, students

can model tone production and technique by listening to a professional orchestra! The exercises are played twice – students can first play along with the orchestra, and then play “solo” with the accompaniment track. These accompaniments (on real instruments, not synthesized) teach phrasing and dynamics, encouraging musicality from the very beginning, while students explore a wide variety of musical styles and cultures – classical, rock, jazz, country and world music.

The CD can also be used as a CD-rom with a PC or mac computer. See pages 4 -7 for details on these exciting features.

•SmartMusic® software •Finale® NotePad® software •Tempo Adjustment software (for play-along tracks)

DVD AND VIDEO!

The DVD offers even more features for student learning. In addition to the tools on the CD, the DVD gives each student a start-up video to learn the basics for their instrument – just like a private lesson with a teacher! The DVD can also be used with a PC or mac computer for additional features that do not appear on the CD:•Allplay-alongtracks–fortheentirebook (with tempo adjustment software)•Additional,printableDuet and Trio Music (for any combination of instruments)•AnOrchestraMusicListening Library

See pages 4 -7 for more information.

ENHANCED STARTING SYSTEM

Book 1 uses a note-to-note sequence with easy-to-read notation. Students begin with the note names written inside the note heads, and then the names are gradually eliminated.

Contemporary pedagogy starts from the “top” of the hand. Violins and violas start with three fingers down, cellos with four. This technique creates better left-hand shape and helps develop proper playing position from the beginning. Teaching the double bass is accomplished without displacing the octave.

OPTIMUM REINFORCED LEARNING

New material is carefully paced, sequential and immediately reinforced. New notes are approached by step, then gradually played with wider skips and crossing strings. Each new rhythm is introduced as a Rhythm Rap, which can be shadow bowed, then played on an open string, and finally placed in an appropriate melodic setting.

See the sequence on the right to see this reinforced learning technique in action.

The right hand is thoroughly and sequentially developed through a series of seven Bow Builders. Each one defines a specific action required to produce an acceptable bow hand.

$8.99 each unless noted.00868048 Teacher’s Manual $34.9900868049 Violin00868050 Viola

00868051 Cello00868052 String Bass00868053 Piano Accompaniment $12.99

Write us today for a FREE sample!Go to www.halleonard.com/eepackets to request a FrEE sample student book.

6

0 = Open string1 = 1st finger2 = 2nd finger3 = 3rd finger4 = 4th finger

G

3

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2E

1

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DG

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4

2

SHAPING THE LEFT HANDD S T R I N G N O T E S

Step 1 Shape your left hand as shown.Be certain your palm faces you.

Step 2 Bring your hand to the fingerboard. Place your fingers on the D string, keeping your hand shaped as shown below.Be sure your first finger forms a square with the fingerboard, and your wrist is relaxed and straight.

G is played with 3 fingers F# is played with 2 fingers E is played with 1 fingeron the D string. on the D string. on the D string.

Listening Skills Play what your teacher plays. Listen carefully.

10

D

3

C

2

B

1

EA

DG

#

A S T R I N G N O T E S

D is played with 3 fingers C# is played with 2 fingers B is played with 1 fingeron the A string. on the A string. on the A string.


23. LET’S READ “D“

24. LET’S READ “C#“ (C-sharp)

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pizz. # 2 œ œ ŒC# C # œ œ Œ C # œ œ œ C # œ œ ŒPlay all C

#'s. Sharps apply to the entire measure.

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2

BOOK 1 FEATURES

PERFORMANCE SPOTLIGHTS

Avarietyofrounds,duetsandorchestraarrangements(11)are included. These can be used independently throughout the year, or combined for a pre-planned concert.

PACING

only one new concept is introduced at a time. The pacing encourages student mastery without excessive repetition. You can move from line to line quickly within each class. Students master quarter notes, then move to eighth, half, dotted-half, and whole notes.

New concepts are presented in familiar keys and rhythms. These skills are integrated in shaded sections called Skill Builders to combine rhythms, pitches and bowings into comprehensive exercises to develop solid technique.

THEORY, HISTORY, CROSS-CURRICULUM AND CREATIVITY ... ALL IN THE STUDENT BOOKS!

It’s all right in each student book, correlated with the music and concepts they are currently learning. This is by far the most efficient way to meet the National Standards, integrate other subjects into the music curriculum, and still teach the essentials of music performance.

5

Treble Clef Clefs indicate a set of note names.

Time Signature 4 4 beats per measure The time signature tells us how many beats are in

(Meter) 4 ˛ or Œ gets one beat each measure and what kind of note gets one beat.

Double Bar A double bar indicates the end of a piece of music.

6. JUMPING JACKS Identify the clef and time signature before playing.

7. MIX ‘EM UP

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D F A C E G

THEORY

15

Austrian composer Wolfgang Amadeus Mozart (1756–1791) was a child prodigy who first performed in concert at age 6.He lived during the time of the American Revolution (1775–1783). Mozart’s music is melodic and imaginative. He wrote hundreds of compositions, including a piano piece based on this familiar song.

43. A MOZART MELODY Adapted by W. A. Mozart

Key Signature A key signature tells us what notes to play with sharps and flats throughout the

entire piece. Play all F’s as F# (F-sharp) and all C’s as C# (C-sharp) when you see D MAJOR this key signature, which is called “D Major.”

44. MATTHEW’S MARCH

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HISTORYTHEORY

31

SKILL BUILDERS – G Major

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7

SHAPING THE RIGHT HANDB O W B U I L D E R O N E

Pencil HoldStep 1 Hold a pencil in your left hand at eye level.

Step 2 Hang your right fingers over the top of the pencil,as shown.

Step 3 Place your right 4th finger on top of the pencil.

Step 4 Touch the tip of your right thumb to the pencil just opposite your 2nd finger. The curve of your thumb will form an oval with the finger.

Step 5 Lean your right hand so the first finger rests on top of the pencil between the 1st and 2nd joints.Keep your fingers relaxed. Remove your left hand from the pencil. Practice shaping your hand on the pencil until it feels natural to you.

H Practice BOW BUILDER ONE daily.

13. ON THE TRAIL Say or sing the note names before you play.

20

Eighth Notes

Each Eighth Note = 1/2 Beat Two or more Eighth 2 Eighth Notes = 1 Beat Notes have a beam

across the stems.

Tap your toe down on the number and up on the “&”.

66. RHYTHM RAP

68. RHYTHM RAP

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Shadow bow and count before playing.

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88. FRÈRE JACQUES – Round (When group A reaches , group B begins at ¨ )French Folk Song

Chord, Harmony Two or more pitches sounding at the same time form a chord or harmony.Throughout this book, A = Melody and B = Harmony.

89. BILE ‘EM CABBAGE DOWN – Orchestra ArrangementAmerican Fiddle Tune

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25

PERFORMANCE SPOTLIGHT

90. ENGLISH ROUND

91. LIGHTLY ROW – Orchestra Arrangement

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ADDITIONAL FEATURES

•Accurateillustrationshelpdevelopproper playing position•ListeningSkillsforeachnewnoteforaccurateintonation•Subdivisionintroducedfromthebeginning•Assessmentforimmediateevaluationofstudents’skills•Large,clearFingeringCharts•SpecialpagedevotedsolelytomixingFingerPatterns•Solowithpianoaccompanimentforeachinstrument

3

THE ULTIMATE PRACTICE AND ASSESSMENT TOOL INCLUDED wITH ESSENTIAL ELEMENTS

Smartmusic® from makemusic® is included in every Essential Elements Book 1! This innovative software will motivate students to practice and keep them playing.

With Smartmusic® your students can:

•Practice,record and learn with on-screen assessment – for instant feedback

•Playatany tempo to practice passages properly, with a metronome

•Usetheoptionalmovingcursor to highlight the melody

•Save performances that you can e-mail or burn to a CD – ideal for student portfolios and tracking progress

•Tunewiththeon-screentuner

SmartMusic® with Essential Elements

4

ASSESSMENT SCREEN

Hear solo partto learn how itis performed

Correctnotes turngreen Wrong

notes turnred

Notes playedearly displayto the left

Optional playback cursor helps studentskeep their place

Notes playedlate display tothe right

Practice atany tempo

Grades can be e-mailedor saved to disk alongwith the recording andthe screen display

Record yourself! Listen and get immediate feedback. Save a recording and burn to a CD or e-mail to a teacher, family or friends.

CD-ROM

SMARTMUSIC® wITH ESSENTIAL ELEMENTS IS EASY TO INSTALL AND USE!

• FromincludedDVDorCD

• one-time, easy installation on a PC or Mac computer

• Includesexercises 1-86 of Book 1

• Noonlineconnectionisrequiredforstudents

• StudentswhowishtocontinuewithSmartMusic® may enroll for a specially priced EE subscription (online activation)

NoTE: The conductor’s version of Smartmusic® includesALLtheexercisesforBook1–idealfor the music room computer.

“I love what SmartMusic® has done for each of my students – at every level. It meets my students where they are, motivates them to explore the software, and in doing so, challenges them to learn, discover and practice!

SmartMusic® has revolutionized my teaching . . . ”

Jeanne Kauffmann, Director

SmartMusic® with Essential Elements

5

Easy, one-time installation from DVD or CD (PC or mac)

See a short video demoof Smartmusic® at

www.halleonard.comClick on “orchestra,“

then “Essential Elements”

EXERCISE SCREEN

DVD VIDEO

Each Student Book includes a DVD to teach the basics of each instrument.

The 10-15 minute video program is ideal for that first musical experience, whether at home, in small group lessons, or in the classroom.

ALL PLAY-ALONG TRACKS

• Accompanimentsfortheentire book for DVD player or computer

• Allexercises,rhythmraps,solos,string arrangements and rhythm studies

• MP3filesthatcanbedownloadedor burned to CD if needed

TEMPO ADJUSTMENT SOFTwARE(“Amazing Slow Downer”)

• Set your own tempo for all play-along tracks (DVD)

• ForPCorMaccomputers

• Worksinstantly...noprocessingtime!

• Auto-repeatbuttonforpractice“looping”

• AlsousableonCD(Ex.1-71only)

MORE TEACHING TOOLS

6

“The new videos with Essential Elements are just great for my teaching style. I use them as a teaching tool in an introductory “Super Lesson,” which includes students AND their parents. It helps parents to easily understand and support what we do in class!”

Nicole Gillette, DirectorWaukesha, WI

CD-ROM

CD-ROM

Easy navigation for video chapters and play-along tracks

MORE DUETS AND TRIOS

Students love to play in small groups and with friends, so we’ve included even more duets and trios, with music printable from each DVD.

• 10moresongsforeachstudent’sinstrument

• Arrangementsalsoworkforanycombinationofinstrumentsso friends can play together

• PDFformat–printfromacomputer

• TheDirectorDVDhasall instrument files

Students will love to try their hand at creating or arranging music with makemusic®’s easy-to-use music notation program.

• Studentscanlearnbasicmusicwritingskills

• Hearitplaybackonacomputer

• Save,printandemailafile

• NotePad®alsoreadsanyFINALE® file – great for teacher-created quizzes or special projects

LISTENING LIBRARY

Now your students can experience some great orchestra music! They can load the music – in mP3 format – on their players or home computer, and also burn CDs.

• Professionalrecordingsof12greatworks

• Musicatvariouslevels

• ListeningActivitySheet(PDF)foraclassroomactivity or assignment

MORE TEACHING TOOLS

7

CD-ROM

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WelshVIOLIN

SEqUENTIAL OR FLEXIBLE FORMAT•Skillscanbetaughtwhenneeded•NewrhythmsintroducedinDMajor•Newkeysintroducedin4/4

CD IN EACH STUDENT BOOK•Moregreatplay-alongtracks•Includesexercises1-71•Withrealplayersplayingrealinstruments (not synthesized)

BOOK 1 REVIEw SECTION

•6openingpagescoverallBook1elements•Greatrefreshertostartthe2ndyear

BOOK 2 FEATURES

3

REVIEW Forte (f) Piano (p) Bow Lift (,)

6. D MAJOR IN THREES

Dynamics

7. DYNAMIC CONTRASTS

Norwegian composer Edvard Grieg wrote Peer Gynt Suite for a play by Henrik Ibsen in 1875, the year before the telephonewas invented by Alexander Graham Bell. “Morning” is a melody from Peer Gynt Suite. Music used in plays, or in films and television, is called incidental music.

8. MORNING (from Peer Gynt)Moderato

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crescendo (cresc.)decrescendo (decresc.)

Gradually increase volume.Gradually decrease volume.

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43TIME SIGNATURE

HISTORY

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MS

E

7

REVIEW

22. C MAJOR SCALE – Round (Lower Octave – viola and cello)

23. C MAJOR ARPEGGIO (Lower Octave – viola and cello)

24. C MAJOR MANIA

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KEY SIGNATURE

viola and cello)

ETONE PRODUCTION• place bow between bridge and fingerboard

• bow straight

• proper weight

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A Major Scale is a series of eight notes that follow a definite pattern of whole steps and half steps.Major Scale Half steps appear only between scale steps 3–4 and 7–8. Every major scale has the same arrangement

of whole steps and half steps.

1. TUNING TRACK

2. D MAJOR SCALE – Round (When group A reaches , group B begins at ¨ )

3. D MAJOR ARPEGGIO

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CREATING MUSIC

Improvisation Improvisation is the art of freely creating your own music as you play.

204. Using the following notes, improvise your own melody (Line A) to go with the accompaniment (Line B).

Composition is the art of writing original music. A composer often begins by creating a melody

Composition made up of individual phrases, like short musical “sentences.” Some melodies have phrases that seem to answer or respond to “question” phrases, as in Beethoven’s Ode To Joy. Play this melody and listen to how phrase 2 answers phrase 1.

205. ODE TO JOYLudwig van Beethoven (1770–1827)

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38

Sight-reading Sight-reading means playing a musical piece for the first time. The key to sight-reading success is to know what to look for before you play. Use the word S-T-A-R-S to remind yourself what to look for, and eventually your orchestra will become sight-reading STARS!

S — Sharps or flats in the key signatureT — Time signature and tempo markingsA — Accidentals not found in the key signatureR — Rhythms, silently counting the more difficult notes and restsS — Signs, including dynamics, articulations, repeats and endings

162. SIGHT-READING CHALLENGE #1

163. SIGHT-READING CHALLENGE #2

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15

G ( G - S H A R P ) O N T H E E S T R I N G

G#is played with 2 fingers onthe E string.


62. LET’S READ “G#” (G-sharp)

63. A MAJOR SCALE

64. A MAJOR ARPEGGIO

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Key SignatureThe G minor (natural) scale uses the same pitches as the Bb major scale.G MINOR

129. G MINOR (Natural) SCALE

With the establishment of Israel as an independent political state in 1948, Hatikvah became the Israeli National Anthem. The same year Mohandas Gandhi was assassinated in India. Israeli violinists Itzhak Perlman and Pinchas Zukerman are concert artists known throughout the world.

130. HATIKVAHIsraeli National Anthem

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HISTORY

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THEORY

ESSENTIAL ELEMENTS FEATURES CONTINUED AND EXPANDED

•IncludesRhythmRaps,ListeningSkills,Theory,History, MulticulturalMusic,CreativityandAssessment•Introducesanddevelopssight-reading

NEw KEYS

•D(loweroctave) andAMajor•FandB b major•GandDMinor

NEw RHYTHMS AND METERS •Dottednotes•Sixteenth-notes•Syncopation•6/8meter•Cuttime•Triplets

8

•Forviolinsandviolas•Bypattern,stringandkey

OTHER ESSENTIAL ELEMENTS BOOK 2 FEATURES

•Large,clearFingeringCharts•MixedMeter•Comprehensivescaleandarpeggiopages•Doublestops•Shiftingintroducedthroughharmonics•Violinandviolaextendedthirdfingersandcello

extensions introduced and reinforced

• AllremainingtracksareavailableFREEfordownload (mP3) from www.halleonard.com

or . . . available on CD from your music dealer

PLAY-ALONG CD SET – Disc 2 & 3 (Ex. 72-end)

BOOK 2 FEATURES

$7.99 each unless noted.00868056 Teacher’s Manual $24.9900868057 Violin00868058 Viola00868059 Cello

00868060 String Bass00868061 Piano Accompaniment $12.9900868062 Play Along Accompaniment Discs 2 & 3 (Ex. 72-end) $12.99

PERFORMANCE SPOTLIGHTS

•FullStringOrchestraArrangements•ArrangedbyJohnHiggins•Variousstylesandlevels

FINGER PATTERNS

34

PERFORMANCE SPOTLIGHTPerforming music for others is fun and rewarding. Either small or large ensembles can perform the following arrangements. Alwaysobserve proper concert etiquette by being well prepared, dressing appropriately, being on time, and remembering all equipment.Show respect when others are playing by listening attentively and applauding at the appropriate time.

156. SAGEBRUSH OVERTURE – Orchestra ArrangementA = Melody. B = Harmony. For orchestra, half the violins play each part.

Arr. John Higgins

&

&

##

# #

43

43

A

B

Andantino

∑

∑

Œ Œpœ≤4

Œ Œpœ≤4

3 “Streets of Laredo”

.œ jœ œ

.œ jœ œ

œ œ4

œ

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œ œ œ

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œ.

œ .œj

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&

&

# #

# #

A

B

Fœ

Fœ

œ œ œ

˙ œ4

œ œ œ

œ œ œ

˙pœ≤4

˙pœ≤

11

.œ jœ œ

œ4

œ œ œ

œ œ4

œ

.˙

œ œ œ

.˙

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#

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#

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4

rit. e dim.

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CE

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HT

35

157. POMP AND CIRCUMSTANCE – Orchestra Arrangement Edward Elgar (1857–1933)Arr. John Higgins

158. AMERICA THE BEAUTIFUL – Orchestra Arrangement Samuel Augustus Ward (1847–1903)Arr John Higgins

&

&

44

44

A

B

Moderato

fP -

≥ œ œ œ

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&

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..

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B

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˙ Jœ œ jœ

˙ jœ# œ jœ

,

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2. ˙N ≥Jœ œ

Jœ

≥Jœ œ Jœ

,.˙4 Œ

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&

&

A

B

11

˙≥

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˙≥ jœ œ jœ

˙ ˙

˙ ˙4

,

,

.˙ Œ

.˙ Œrit.

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rit.

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. œ≤

.

wU

wU

PER

FORM

AN

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A = Melody. B = Harmony. For orchestra, half the violins play each part.

A = Melody B = Harmony For orchestra half the violins play each part

19

Syncopation occurs when an accent or emphasis is given Syncopation to a note that is not on a strong beat. This type of “off-beat”

feel is common in many popular and classical styles.

86. RHYTHM RAPShadow bow and count before playing.

88. MIRROR IMAGE

&## 42 Jœ

≥ œ≤ Jœ≥ ≤

Jœ≥ œ≤ Jœ

≥˙≤ jœ

≥œ≤ jœ

≥œ≤

œ≥ jœ

≤œ≥ jœ

≤˙≥

&# #

42

42 ..

..1 & 2 &

œ≥

œ≤

Count:

œ≥

œ≤

1 & 2 &

œ≥

œ≤

œ≥

œ≥

œ≤

œ≥

1 & 2 &

jœ≤

œ≥ jœ

≤

jœ≤

œ≥ jœ

≤

,

,

1 & 2 &

œ≥

Œ

œ≥ Œ

87. SYNCOPATION TIME

œ œ> œ œ jœ œ>jœ=

THEORY

26

6Time Signature = 6 beats per measure8 = Eighth note gets one beat

6/8 time is usually played with a slight emphasis on the 1st and 4th beats of each measure.This divides the measure into 2 groups of 3 beats each.

115. RHYTHM RAPShadow bow and count before playing.

117. HOOKED ON 6/8

A round is a musical form where performers play or sing the same melody, entering at Musical Form different times. This is called counterpoint, a type of harmony. Try memorizing this round

and performing it with a friend.

&## 86 œ≥ œ œ œ œ œ .œ .œ œ. Jœ

. œ. Jœ. .œ Jœ

. ‰ ‰

&# #

86

86

1 2 3 4 5 6

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

Count:

1 2 3 4 5 6

œ≥

œ œ œ œ œ

1 2 3 4 5 6

.œ≥

.œ≤

1 2 3 4 5 6

.œ .œ

1 2 3 4 5 6

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

1 2 3 4 5 6

œ œ œ œ œ œ

1 2 3 4 5 6

.˙≥

1 2 3 4 5 6

.˙

116. LAZY DAY

= 1 beat

= 3 beats

eQ

q = 2 beats

= 6 beatsh .& 86

THEO

RYTH

EORY

6/8

RHYTH

MS

40

F I N G E R P A T T E R N S

There are four basic finger patterns, which are combinations of whole and half steps. In the “open” hand pattern, a half step occursbetween the open string and first finger. The other patterns have half steps between 1–2, 2–3, or 3–4. Notice that some finger patterns include new notes.

FINGER PATTERNS (By Pattern)

174. 3–4 PATTERN

175. 2–3 PATTERN

& 44E String

œ œ# œ# œ œ œ œ# œ# ˙ ˙A String

œ œ œ# œ œ œ œ# œ ˙ ˙

& 44E String

œ œ# œ# œ# œ œ# œ# œ# ˙ ˙A String

œ œ œ# œ# œ œ# œ# œ ˙ ˙

&D String

œ œ œ# œ# œ œ# œ# œ ˙ ˙G String

œ œ œ œ# œ œ# œ œ ˙ ˙

C String

(viola, cello)

3

3–41–2 2–3open hand

41

FINGER PATTERNS (By String)

178. E STRING

179. A STRING

180. D STRING

& 443–4 Pattern

œ œ œ# œ# œ œ# œ# œ ˙ ˙2–3 Pattern

œ œ œ# œ œ œ œ# œ ˙ ˙

& 443–4 Pattern

œ œ œ# œ# œ œ# œ# œ ˙ ˙2–3 Pattern

œ œ œ# œ œ œ œ# œ ˙ ˙

&1–2 Pattern

œ œ œ œ œ œ œ œ ˙ ˙Open Pattern

œ œb œ œ œ œ œ œb ˙ ˙

& 443–4 Pattern

œ œ# œ# œ# œ œ# œ# œ# ˙ ˙2–3 Pattern

œ œ# œ# œ œ œ œ# œ# ˙ ˙

&1–2 Pattern

œ œ# œ œ œ œ œ œ# ˙ ˙Open Pattern

œ œ œ œ œ œ œ œ ˙ ˙

9

INTERMEDIATE TECHNIqUE STUDIES

THREE MAJOR SECTIONS

•HigherPositionsandShifting•KeysandScales•BowingsandSpecialTechniques

CD IN EACH STUDENT BOOK

•Moregreatplay-alongtracks!•Includesexercises1-76

ADVANCED POSITIONS

•Forallinstruments•Violinandviola:II,III,IV,V•Cello:1⁄2, II, II ext., II1⁄2, III, III ext., IV, IV ext.•Bass:1⁄2, II, II1⁄2, III, III1⁄2, IV, V, V1⁄2

VIOLIN AND VIOLA SHIFTING SEqUENCES

•Exercisesforopenstring,samefingerand different finger shifts

•Embeddedauxiliarynotesforaccurateshiftingwithout confusing notation

•Unisonexercisestoreinforceanddevelopshiftstoandfrom higher positions

ESSENTIAL ELEMENTS FEATURES CONTINUED AND EXPANDED

•IncludesTheory,History,MulticulturalMusic, CreativityandAssessment

•Sight-readingandRhythmpages

ESSENTIAL TECHNIqUE® FEATURES BOOK 3



2

T H I R D P O S I T I O N O N T H E D S T R I N G

1. TUNING TRACK

2.

3.

4.

&#44

III

œ≥1

œ œ2

œ3 ˙4 ˙ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ ˙ ˙ œ œ˙

&#44

III

œ≥1

œ œ2

œ ˙3 ˙ œ œ œ œ ˙˙

œ œ œ œ ˙ ˙ œ œ œ œ œ œ˙

& b b 44III

œ≥1

œ œ2

œ ˙3 ˙ œ œ œ œ ˙˙


G

CB

EA

DG

bA

432

1

G

CB

EA

DG

A

432

1

PO

SITI

ON

S

6

T H I R D P O S I T I O N O N T H E E S T R I N G

29.

30.

&## # 44

œ≥1 œ œ2 œ ˙3 ˙ œ œ œ œ ˙˙


& 44III

œ≥1 œ œ2 œ ˙3 ˙ œ œ œ œ ˙˙


A

DC

EA

DG

B

4321

A

DC

EA

DG

#B

4321

PO

SITI

ON

S

32

Minor KeysMinor keys and their scales sound different from major keys because of their different pattern of whole and half steps.Each minor key is relative or “related” to the major key with the same key signature.

The simplest form of a minor key is called natural minor. Two other types are harmonic minor and melodic minor,each of which have certain altered tones.

153. A NATURAL MINOR

154. A HARMONIC MINOR

155. A MELODIC MINOR

156. A MINOR ARPEGGIO

&≥ .˙ .˙ œ 4

4

& 44œ≥

œ œ œ œ œ# œ# œ œ œ œ œ œ# œ# œ œn œn œ œ œ œ œ4

œn œn œ œ4

œ œ ˙ ˙

& 44œ≥

œ œ œ œ œ œ#3

(4)

œ œ œ œ œ œ œ# œ œ# œ œ œ œ œ œ œ#3

(4)

œ œ œ4

œ œ ˙ ˙

& 44œ≥

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ4

œ œ œ œ4

œ œ ˙ ˙

THEO

RY

MIN

OR K

EYS

36

177. C NATURAL MINOR

178. C HARMONIC MINOR

179. C MELODIC MINOR

180. C MINOR ARPEGGIO

& bb b 43

III

œ≥1

œ œ œ œ œ .˙3 .˙ œ œ œ œ œ œ .˙ .˙

& b b b 44 œ≥3

œ œ œ œ œn œn œ œ œ œ œ

III

œn–1 œn œ œb œb

I

œ–2 œ œ œ œ œb œb œ œ œ œ ˙ ˙

& b b b 44 œ≥3

œ œ œ œ œ œn œ œ œ œ œ

III

œ–1 œn œ œn œ

I

œ–2 œ œ œ œ œn œ œ œ œ œ ˙ ˙

& b b b 44 œ≥3

œ œ œ œ œ œ œ œ œ œ œ

III

œ–1 œ2 œ3 œ œ

I

œ–2 œ œ œ œ œ œ œ œ œ œ ˙ ˙

MIN

OR K

EYS

10

7 MAJOR KEYS

•Includesthrough3sharpsand3flats•Violinandviolafingerpatternsforbothfirst

and third positions•Exercisesinunisonandthirds,scalesandarpeggios

to help reinforce keys•Four-partChorales

5 MINOR KEYS

•a,e,d,gandcminor•Allthreeformsoftheminorscaleincluded•Twounisonexercisesreinforceeachminorkey

OTHER ESSENTIAL TECHNIqUE FEATURES•Introductionofvibrato,spiccato,enharmonics

and chromatics•Trebleclefforviola;tenorclefforcelloandbass•Celloandbassthumbpositions•Jazzlinesforbass

ADVANCED TECHNIqUE

2

HOW TO PLAY 3-OCTAVE SCALESIdentify each octave of a three-octave scale:

&#44

œ0

œ1

œ2

œ3

œ0

œ1

œ2

œ3

œ0

œ1 œ2 œ–1 œ2 œ3 œ4 œ1 œ2 œ–1 œ2 œ3

&#

œ4 œ– 4 œ– 4 œ3 œ2 œ1 œ–2 œ1 œ4 œ3 œ2 œ1 œ–2 œ1 œ4

œ3

œ2

œ1

œ4

œ3

œ2

œ1

˙

0

&#44

FIRST OCTAVE

œ œ œ œ

SECOND OCTAVE

œ œ œ œ œ œ œ œ

THIRD OCTAVE

œ œ œ œ œ œ œ œ œ œÓ

SCALE

S &

ARPEG

GIO

S

VIOLINS ONLY

There are three sets of fingerings which cover all of the 3-octave major scales on violin:3-Octave • OPEN string starts • 1st finger starts • 2nd finger startsScale

The fingering diagrams below are each followed by a sample major scale. A caret ( ^ ) indicates a half step Fingerings between two pitches, and a dash ( – ) indicates a shift to a new position. The letters identify each string.

OPENMajor scale** startingon an open string:

G

ASCENDING DESCENDING

G D A E

0 1 2^3 | 0 1 2

^3 | 0 1

^2 - 1 2 3

^4 | 1 2

^- 1 2 3 4

Ê A D G

- 4^- 4 3 2 1

^- 2 1 | 4

^3 2 1 - 2

^1 | 4 3

^2 1 | 4 3

^2 1 0

(Slide 4th)

1ST FINGER ASCENDING DESCENDING

23. A MELODIC MINOR SCALE

24. A MINOR ARPEGGIO

25. E MELODIC MINOR SCALE

&#44

2

œ4

œ3 2

œ3

œ4

œ1

œ2 œ# 3 œ# 4 œ1 œ2 œ–1 œ2 œ3 œ# 4 œ# 1 œ2 œ–1 œ2 œ–1 œ2 œ# 3 œ# 4

&86 ..IVI

œ1

œ3

œ1

œ–1 œ3 œ1

VII

œ–1 œ3 œ1 .œ4

IV

œ4 œ1 œ3 œ1 œ–1 œ3

I

œ1

œ–1

œ3

.œ1

&44

Iœ1

œ3

œ2

œ1

œ2

œ3

œ4

(0)

œ1

œ#2

œ#3

œ4

(0)

œ1

III

œ2 œ–1 œ2 œ# 3

V

œ# 4 œ1 œ2 œ–1

VII

œ2 œ–1 œ# 2 œ# 3

& ..œ4 œn 3 œn 2 œ1

IV I

œ–3 œ2 œ1 œ–3 œ2 œ1 œ4 œ3 œ2 œ1 œ4

œ3

œ2

œ1

œ4

œ3

œ2

œ1

œ3

œ2

w1

ASCENDING DESCENDING

G D A E

0 2^1 0 1

^23 | 0 1 2

^3 | 0

^12 - 1 2 3

^4 | 1

^2 - 1 2 3 4

Ê A D G

-**

4 3 2^- 3 2 1

^- 3 2 1 | 4

^3 2 1

^ | 4 3 2 1^ | 4 3 2

^1 0 2

^1 0

G D A E

1 3^2 1 2

^3 4 | 1 2 3

^4 | 1

^2 - 1 2 3 4

^ | 1 2^- 1 2 - 1 2 3

Ê A D G

4 3 2^1 - 3 2

^1 - 3 2 1

^ | 4 3 2^1 | 4 3 2

^1 | 4 3

^2 1 3

^2 1

G D A E

2 4^3 2 3

^4 | 1 2 3 44

^ | 1 2^- 1 2 3 4 | 1

^2 - 1

^2 - 1 2 3 4

Ê A D G

-**

4 3 2^- 3 2 1

^- 3 2 1 | 4

^3 2 1

^- 2 1 | 4 3

^2 1 | 4

^3 2 4

^3 2

**(Slide 4th)

40

THE BAROQUE ERA (CA. 1600 – 1750)

Following the Renaissance, music and the arts (and even clothing) became more elaborateand dramatic during the Baroque era (about 1600–1750). Like the fancy decorations ofBaroque church architecture, melodies were often played with ornamentation such as trillsand grace notes. Rhythms became faster and more complex with time signatures and barlines. Our now familiar major and minor scales formed the basis for harmony, and chordswere standardized to what we often hear today.

The harpsichord became the most popular keyboard instrument, with players often improvising (making up) their parts using the composer’s chords and bass line. Violin makingreached new heights in Italy. Operas, ballets and small orchestras were beginning to takeshape, as composers specified the instruments, tempos and dynamics to be performed.Johann Sebastian Bach, George Frideric Handel and Antonio Vivaldi were among the important composers of the Baroque era.

BAROQUE STYLEAlthough music notation was becoming standardized during the Baroque era, there were many details left to be interpreted by the performers. For instance, 4/4 (or Common Time) and 2/2 (or Cut Time) were sometimes written interchangeably. In medium to fast tempos, the performers must determine whether the quarter note or the half note is the actual pulse. Normally,the “running” notes (4 to a beat) are played with detaché strokes, while “walking” notes (2 to a beat) should be separated using a martelé bowing stroke.

n Quarter note pulse indicated by “running” 16ths: n Bowing style with a quarter note pulse:

=

n Half note pulse indicated by “running” 8ths: n Bowing style with a half note pulse:

=

n Ornamentation was often written into the music, but could also be improvised by the performers.The most common musical ornament is the trill, which usually begins one scale step above the written note.

= (or)

n Dynamic changes were sometimes left to the creativity of the performers, since there was no standardized notation for crescendo and decrescendo. In today’s orchestras, players rely on the judgement of their conductor so that everyone plays with a unified interpretation.

& œ œfreely

œœœœœœœœœœœœœœœœ œ. œ. œ& œ œ freely

œœœœœœœœœœœœœœœœ œ. œ. œ& œ œ Ÿ œ œ œ

&# # Œ œ- œ- œ- œ- œ- œ- œ. œ.

Ó&# # Œ œ œ œ œ œ œ œ œ

Ó

& b œ- œ- œ- œ- œ. œ. œ# . œ. œ. œ.& b œ œ œ œ œ œ œ# œ œ œ

Johann Sebastian Bach

22

SHIFT ON: A STRINGPOSITIONS: III – V

78.

79.

80.

81.

SHIFT ON: E STRINGPOSITIONS: III – V

&# # 44

III V

œ1≥ œ œ–1 œ œ œ œ ˙ œ œ œ œ

III

œ–1 œ œ ˙V

œ œ œ–1 œ œ œ œ ˙

III

œ œ œ–2 œ œ œ ˙

&# # 44

III V

œ1≥ œ–1 œ œ

III

œ œ–1 œ ˙V

œ œ–1 œ œ

III

œ œ–2 œ ˙V

œ œn–1 œ œ

III

œn œ–1 œ ˙V

œ œn–1 œ œIII

œn œ–2 ˙

&# # 44

III V

œ1≥ œ œ–1 œ œ œ ˙

III

œ œ œ œ–2 œ œ ˙V

œ œ œn–1 œ œ œb ˙

III

œ œ œn œ–2 œ œ ˙

&# # 44

III

œ1≥ œ œ0

œV

œ œ–1 ˙3 œ4 œ œ2 œ3 œ œ1

III

œ–1 œ ˙ œ œ œ0

œV

œ œ–1 ˙3 œ4 œ œ2 œ3 œ œ1

III

œ–2 œ ˙

SHIF

TIN

G



11

ADVANCED POSITIONS AND SHIFTING

•Forallinstruments•Unisonmelodiesfromstandardrepertoire

RHYTHM AND BOwING STUDIES

•Pitchchangeswithinameasure;withinabeat•Pitchchangeswithslurs•Stringcrossingswithinameasure;withinabeat•Stringcrossingwithslurs

MUSICAL STYLE

•Baroque,ClassicalandRomanticstyleperiods•Musicinterpretationstudies•Authenticorchestralexcerpts

TECHNIqUE AND STYLE STUDIES FOUR MAJOR SECTIONS•ScalesandArpeggios•ShiftingStudies•RhythmandBowingStudies•MusicalStyles

MAJOR SCALES AND ARPEGGIOS IN THREE OCTAVES •Twooctavesforbass•Simplefingeringsystemforviolinandviola•SampleRoutineforpracticing3-octavescales

MINOR SCALES AND ARPEGGIOS IN THREE OCTAVES

•Twooctavesforbass•Simplefingeringsystemforviolinandviola

TEACHER RESOURCE KITS

TheTeacherResourceKitsarevaluablesourcesofsupportmaterials. The kits include lesson plans, reproducible student activity pages, plus much more, all on CD-rom.

LESSON PLANSThese kits include lesson plans correlated to Books 1 and 2, organized into three parts:

1.LearningObjectives

2. Strategies for Teaching objectives

3.AssessmentofObjectives

These lesson plans are designed to help you get the most out of your Essential Elements experience.

REPRODUCIBLE STUDENT ACTIVITY PAGESStudent activity worksheets have been developed to provide support materials to enhance learning and help develop comprehensive musicianship. Some activities can be done in class, while others may be used as homework assignments. Allpagesarereproducible.

Activitiesinclude: •RhythmStudies •CreatingMusic •MusicTheory •MusicHistory •ListeningExercises •Quizzes

CD-ROMAlldocumentsareavailableontheincludedCD-ROM.Lessonplans can be imported into any word processing program, allowing you to edit, personalize and print.

TheListeningLessonscanbeplayedonaCDplayeroracomputer enabled for CD audio playback.

CORRELATED MATERIALS

00868133•$19.99

Student Page 6Exercises 10–12Teacher’s Manual Pages 46–51

UNIT 1 LESSON FOUR

OBJECTIVES NATIONAL STANDARDS

At the end of instruction students should be able to:1. Shape left hand properly. 22. Define sharp. 53. Place G and F# on the fingerboard with the correct number of fingers. 24. Keep fingers down on one string, while plucking an open string (bass). 25. Pizzicato G and F# by ear. 26. Pizzicato G and F# while reading a printed line. 2

WARM-UP/REVIEW

• Music staff and note names

• Time signature, double bar and repeat sign

• Counting and tapping

• Quarter notes and quarter rests

STRATEGIES FOR TEACHING OBJECTIVES

1a. Ask students to study the picture of the shape for their left hand (TM pgs. 46–47).

1b E l i th b i t f h fi (N t Cl if f th h l i


UNIT 4 LESSON SIX


At the end of instruction students should be able to:1. Define and perform a tie. 2, 52. Define a slur. 53. Play two-note slurs on one string. 24. Play two-note slurs with string crossings. 2

WARM-UP/REVIEW

• Slow and fast bow speeds

• G string notes

• Counting dotted half notes


1a. Read aloud the definition of a tie on pg. 29.

1b. Ask students to see how many counts they can "tie" together in one bow.

1c Ask students to count a specific number of counts in one bow


UNIT 6 LESSON THREE


At the end of instruction students should be able to:1. Demonstrate forte and piano dynamics. 22. Play the D, C, and G Major scales and arpeggios, including the

lower octave for viola and cello and the upper octave for violin. 2

WARM-UP/REVIEW

• E string notes on the violin

• G Major scale, including E string notes on the violin

• C Major scale, including C string notes for viola and cello

• Staccato and hooked bowing


1a. Ask students to play their open strings forte and piano. Demonstrate for students that they may add more weight to their bow, pull their bow faster and/or move itcloser to the bridge to play louder. Ask students to experiment with each of thesesound production variables

44 œ œ œ œ ˙ œ œ œ œ œ œ œ œ w

43 ˙ Œ œ œ œ œ .˙ œ Œ œ

2 œ œ ˙ œ œ œ Ó

Activity

MUSIC FUNDAMENTALS FINAL

NAME

DATE

1. Identify the following key signatures:

Two sharps: ________ Major

No sharps or flats: ________ Major

One sharp: ________ Major

2. Write the counts under the following rhythms:

RHYTHM & NOTE READING WORKSHEET • QUIZUnit 4

(may be used after student book page 27)

NAME

DATE

1. Write the counts under the following rhythms:

2. Complete each measure by adding the correct number of quarter notes or rests.

44 œ œ œ œ ˙ ˙ œ œ ˙ œ œ œ œ Ó

42 ˙ œ œ œ Œ œ œ œ œ ∑ œ œ œ œ Œ ˙

Activity

44 ˙ œ ˙ Œ œ œ œ

12

00868072•$19.99

ORCHESTRA DIRECTOR’S COMMUNICATION KIT

FOR ALL ORCHESTRA PROGRAMS

Tim LautzenheiserPamela Tellejohn Hayes

Dr.TimandPamelaTellejohnHayeshaveprovidedeveryteacher with communication letters focusing on music advocacy, the importance of arts in our schools, and the benefits of musical study in the development of a child.

Included is a CD-rom to copy, adapt, personalize and print each letter. For PC or mac computers.

FEATURES:

•Musicadvocacyletters(15)

•Lettersaboutorchestra(17)

•Resourceinformation

•Guidelinesfordirectors

CORRELATED MATERIALS

00860076•$29.95

00868053•$12.95

00868078•$12.99

33

86. ESSENTIAL ELEMENTS QUIZ – ODE TO JOY

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Student Book Page 23 33

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Student Book Page 23

Student Book Page 4586

192. SIMPLE GIFTS – Orchestra Arrangement

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Shaker Folk SongArr. John Higgins

SEPTEMBER LETTER: IMPORTANCE OF PARENTAL SUPPORT

To the Parent/s of (name of student):

Schedules and classes are now in place and we are focused on a solid curriculum certain tomake a difference in the life of every student in our music program. I would like to share someways that you can help support our program.

Encouraging Parent. Competence is the result of dedicated “time on task”. Music learning,music performance, and music appreciation are the outcomes of study, practice, and guidedlistening. With limited rehearsal time, it is imperative that students invest extra time innurturing their talents and improving their skills. Please encourage a positive practice schedule.Remember that practice time must be framed as a benefit and not as a disciplinary penalty.

Loyal, Appreciative Audience. The best audience is always parents. You are faced with a fullagenda in your personal and professional life, and you are challenged to adjust your schedule toaccommodate every school function. However, your presence at our performances will meanmore to (name of student) than words can describe. Music is a family affair. Don’t miss thisopportunity to celebrate your child’s talent.

Booster Member. There are many ways to aid and participate in our parent supportorganization. Please join with other parents who realize the far-reaching potential of the artsand take advantage of the synergy created by sharing a common educational philosophy. Thisorganization ensures the future of quality music education for (name of student) and (his/her)fellow artists.

The music program at (name of school) continues to flourish because of a substantivecurriculum, a well-informed and supportive administration, and exemplary parental support.You make a difference!

I look forward to visiting with you in the near future.

In the interest of your child,

Name of Director

JUNE LETTER: THANK YOU AND KEEP MAKING MUSIC


We are completing a wonderful year of music making at (name of school). Everyone associatedwith our music program deserves a standing ovation, especially our parents. Because of you,music is an important and respected academic subject in our school and a vital art form in ourcommunity. Thank you!

Yes, scheduled classes are coming to an end, but summer vacation offers many musicalopportunities for (name of student). May we suggest:

• Enjoyable, stress-free practice time

• Attendance at live concerts to experience new and interesting musical styles

• Solo or ensemble performances at church, civic groups, or family gatherings

• Growth in musical taste and understanding by listening to a variety of music

You, as a parent, can serve as a surrogate music educator by guiding your (son/daughter)towards musically oriented activities. Please encourage (name of student) to find some avenueof musical expression and not let (his/her) artistic language become dormant. It is the mostimportant gift you can give to your child.

Music is an interactive language. When one plays or sings, the listener as well as the performeris actively engaged in the exchange. The weeks ahead can provide an opportunity for (name ofstudent) to be the performer and the listener. Through this, (he/she) may gain a new levelunderstanding and appreciation of music.

For the returning students, we have exciting plans for the coming year and we anticipatecontinued positive growth in our music program. There will be opportunities for these studentsto serve in leadership roles and assume more responsibility within the group.

Thank you again for being a strong advocate of music in our schools and, in particular, for yoursupport of the music department here at (name of school).

Have a great summer!

Gratefully,

Name of Director

“Musical training is a more potent instrument than any other form of education, becauserhythm and harmony find their way into the inward places of the soul.” – Plato

ADMINISTRATOR LETTER #1: THE VALUE OF MUSIC LEARNING

Dear (Appropriate Name):

On behalf of the students, parents and all those connected with our music program, thank youfor your support of the ARTS in our school curriculum. Music is thriving at (name of school)and you play a vital role in our ongoing success.

Music develops the human mind and spirit; it allows us to express the inexpressible. As statedby the Music Educator’s National Conference, “No one can claim to be truly educated wholacks basic knowledge and skills in the arts.” In addition to the aesthetic experience for everymusician, participation in music also helps the development of positive life-skills such as self-discipline, cooperation, communication, adaptation and more.

On yet another front, recent research points to the power of music as it effects comprehensivetest scores. For example:

“A recent study of an expansive U.S. Department of Educationdatabase of over one thousand communities spanning the past decade showed that students who were involved in themusic and arts education by the tenth grade performedsignificantly better on standardized tests, reading proficiency,and math proficiency.” 1

“Music students out-perform non-music students onachievement tests in reading and math. Because of their studyof music, their skills are better at reading, anticipating,memory, listening, forecasting, recall, and concentration..” 2

Every student at (name of school) deserves a comprehensive education. Music education shouldnot be reserved for a few talented pupils, but must be made available to our entire student body.Everyone can and will benefit from the study of music.

We will continue to keep you apprised of the latest data about the impact of music learning.Thank you for making music a vital part of our school community.

Personal regards,

Name of Director

1. James S. Catterall, “Different Ways of Knowing, 1991 – 94: Final Report,” 1995. Based on data found in“NELS:88, National Educational Longitudinal Study,” published by U.S. Department of Education.

2. B. Friedman, “An Evaluation of the Achievement of Reading and Arithmetic of Pupils in Elementary SchoolMusic Classes,” Dissertation Abstracts International 20(1959): 3662 – 3663.

PRIVATE LESSONS


(Name of child) has been doing excellent work in orchestra. I hope you will consider anotheropportunity for musical development through private lessons. There are many advantages totaking private lessons. The individual attention that a student receives in private instructionhelps develop (his/her) unique maximum potential as a player and member of our orchestra. Inaddition, private instruction offers students the opportunity to explore the extensive wealth ofsolo literature available for each instrument. Many of the world’s greatest composers havewritten masterpieces for the individual string instruments, and private lessons give students theopportunity to explore and experience these works. Private lessons provide special performingopportunities that bring recognition for your child through solo recitals.

There are several private teachers in the area who have been very successful with youngpeople. Attached you will find a list of those teachers and their phone numbers. Please contactthe private teacher of your choice for information on scheduling, fees and studio policies. Theseteachers are working toward the same goals and are experienced in teaching and motivatingyoung people.

Providing students private lessons is one very effective way to enrich a child’s stringexperience. Many of the most outstanding players in our orchestra program study privately andhave become our leaders. Please seriously consider offering this special opportunity to yourchild. If you would like to discuss this matter further, you may call me at (phone number).

Sincerely,

Name of Director

13

PIANO ACCOMPANIMENT BOOKSThese piano accompaniment books can provide helpful guidance for teaching beginning string players. They can be used in orchestra class, small group lessons, or performance.

FEATURES:

•Cuelineofthemelodypart

•Accompanimentsarewrittenatamedium-easylevel

•Harmonyandstyleofeachaccompanimentisfullycompatible with the CD background tracks

• Includeschordsymbolstoadaptthewrittenpart for specific teaching situations

00868061•$12.99

CORRELATED STRING ARRANGEMENTS

EXPERT LEVEL$30.00 each unless noted00864055 Bashana Haba‘ah (Conley)00864011 Colors of the Wind (Higgins)00864101 Greensleeves (arr. Sweeney) $35.0000864051 Malaguena (Conley) $35.0000864053 Parade of the Wooden Soldiers (Conley)00864067 Pirates of the Caribbean (Main Theme)

(Lavender)00864045 Rudolph the Red-Nosed Reindeer (Conley)00864007 Silver Bells (Conley)00864089 Theme from First Symphony (Brahms/

Whistler) $35.0050485724 Russian Sailors Dance (Gliere/Allen)00864047 William Tell Overture (Gillespie)

MASTER LEVEL$35.00 each00864091 Carnival of Venice (Whistler)00864043 The Christmas Song (Chestnuts Roasting on an Open Fire) (Conley)00864009 Jingle-Bell Rock (Del Borgo)04490173 Les Misérables (moss)00864035 Mickey Mouse March (Conley)00864099 Revenge of the Double Bass(Allen)00864095 Royal Fireworks Music

(Handel/Sweeney)

PERFORMER LEVEL$30.00 each00864071 Beethoven’s Ninth(Lavender)00864001 Forrest Gump – Main Theme(Higgins)00864059 Mountain Climbing (Gillespie)00864016 The Muppet Show Theme (Del Borgo) 00864065 Play Ball! (Gillespie)00864077 Power Rock (Sweeney)00864026 Wabash Cannon Ball, The (Gillespie)00864085 We Will Rock You(Lavender)

ARTIST LEVEL$30.00 each unless noted00864018 Can You Feel the Love Tonight (Del Borgo)00864039 Do-Re-Mi (Conley)00864037 Edelweiss (Conley)00864013 God Bless America(Higgins)00864041 My Heart Will Go On (Love Theme from Titanic)(Longfield)$35.0000864087 My Horses Ain’t Hungry (Conley)00864083 Pizzo Calypso(Lavender)00864093 Shenandoah (Sweeney)00864079 Simply Poppin’ (Gillespie)00385006 Unchained Melody (Higgins)

14

EXPLORER LEVEL$30.00 each00864081 D String Boogie (Sweeney)00864049 Fiddler’s Hoedown (Gillespie)00864075 Majestic March(Lavender)00864003 New World Symphony Theme(Allen)00864057 Off to the Races (Gillespie)00864014 Old Mac Fiddle(Higgins)00864063 When the Strings Go Marching In (Gillespie)

These arrangements are correlated to Essential Elements 2000 for Strings, Books 1 and 2. Each is designed to reinforce important concepts while allowing students to experience full string orchestra works. Expert writers bring you a wide variety of titles, styles, and performance opportunities ranging from well-known classical themes to contemporary popular titles. These impressive works for beginning and intermediate orchestras can be a vital part of your program’s development.

SOLO AND ORCHESTRA ARRANGEMENTS

CORRELATED wITH ESSENTIAL ELEMENTS 2000

Thisseriesoffersuniqueflexibilityand value for developing orchestra programs. Each arrangement can beusedasaSTRINGORCHESTRAARRANGEMENTorasaSOLO.

Correlated to different stages throughout Essential Elements 2000 Books 1 and 2, these string collections serve as ideal performance and supplementary teaching materials. Your students will enjoy the opportunity to play popular songs and themes as part of their Essential Elements learning experience.

EACH STUDENT BOOK FEATURES:

• STRINGORCHESTRA ARRANGEMENTversions– for performance

• SOLOversions–each instrument can play the melody

• Bothversionsworkwiththe CD accompaniment (sold separately)

OTHER FEATURES:

• Workswellwithmost instrumentation situations

• Arrangementsaredesigned for student success and enjoyment

• ConductorBookincludes CD accompaniment

• PianoBookcanaccompany either the solo or string orchestra versions

• ValueStarterPakavailable (22 books, Conductor and CD)

SOLO AND ORCHESTRA COLLECTIONS

CHRISTMAS FAVORITES for Strings $6.99 each unless noted00868010 Conductor (with CD) $24.9900868011 Violin00868012 Viola00868013 Cello00868014 String Bass00868015 Piano Accomp. $12.9900868029 Percussion Accomp. $6.9900868017 Cassette $9.9900868018 CD Accomp. $12.9900868016 Value Pack $165.99

Arranged by Lloyd ConleyIncludes: Frosty the Snowman •TheHanukkahSong•AHollyJollyChristmas•Jingle-BellRock•JingleBells•LetItSnow!LetItSnow!LetItSnow!•Rockin’AroundtheChristmasTree•SilverBells •UpontheHousetop•WeWish You a merry Christmas •WhiteChristmas

MOVIE FAVORITES for Strings $6.99 each unless noted00868019 Conductor (with CD) $24.9900868020 Violin00868021 Viola00868022 Cello00868023 String Bass00868024 Piano Accomp.$12.9900868031 Percussion Accomp.00868027 CD Accomp. $12.9900868025 Value Pack $165.99

Arranged by Elliot Del Borgo Includes:Apollo13•ChariotsofFire•ThemefromE.T.•ForrestGump–MainTheme•TheJohnDunbarTheme•ThemefromJurassic Park•TheManfromSnowyRiver•Mission:ImpossibleTheme•RaidersMarch•SomewhereOutThere•StarTrek® – The motion Picture

BROADwAY FAVORITES for Strings$6.99 each unless noted00868039 Conductor (with CD) $24.9900868040 Violin00868041 Viola00868042 Cello00868043 String Bass00868044 Piano Accomp. $12.9900868045 Percussion Accomp.00868046 CD Accomp. $12.99 00868047 Value Pak $165.99

Arranged by Lloyd ConleyIncludes: Beauty and the Beast•Cabaret•CircleofLife•Edelweiss•GetMetotheChurchonTime•GoGoGoJoseph•IDreamedaDream•Memory•ThePhantomoftheOpera•Seventy-SixTrombones• Sun and moon

PATRIOTIC FAVORITES for Strings$6.99 each unless noted00868063 Conductor (with CD) $24.9900868064 Violin00868065 Viola00868066 Cello00868067 String Bass00868068 Piano Accomp. $12.9900868069 Percussion Accomp.00868070 CD Accomp. $12.99 00868071 Value Pak $165.99

Arranged by John MossIncludes:BattleHymnoftheRepublic•TheCaissonsGoRollingAlong/AnchorsAweigh•GodBless America®•Marine‘sHymn •MyCountry,‘TisofThee(America)/AmericatheBeautiful•ThisIsMyCountry•HymntotheFallen• YankeeDoodle•ThePatriot• StarsandStripesForever• The Star-Spangled Banner 15

Write us today for a FREE sample!Go to www.halleonard.com/eepackets to request a FrEE sample student book!

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