St. Augustine High School Band

Program

Music Student Resource Book

and Study Guide

丁ABしE OF CONTENTS

Staff and Clef

Note Piacement on the Staff

Note ReIationships

丁ime Signatures

丁ies and SIurs

Dotted Notes

Counting Rhythms

Key Signatures

Enharmonics

Major and Chromatic ScaIes

Circle of Fourths and Orderof#/b_Pg. 10

lntervals

ArticuIations

Phrasing

Proper Practice Techniques

Sound Waves and Tuning

EnsembIe BaIance

Balance, Blend, lntonation

important Terms

Pg. 17

Pg.18-19

STAFF

In music, the塾壁isthesetof5 1ines and 4spaces where notes and rests are

Piaced. 1t looks like the fo=owing:

≦≡三三三三三三≡≡≧ 4 spaces

Cし各戸S

A生壁is a symboI that is pIaced on the sta什and itte=s uswhat notes are on our

lines or spaces.

There are two cIefs that we w掴deal with in band: the Treble C看efand the壁墜

Clef.

The T「ebIe Clef is also known asthe G CIef because it shows us the position ofG

on the staff.

毒帥tes, Oboes, Clarinets, Saxophones′ Trumpets′ Homs, and Percussion 「ead

treble cIef.

The Bass Clefis aIso lくnOWn aS the F CIef because it shows us the position of F on

the staff.

囲Bassoons, Trombones, Baritones/Euphoniums, Tubas, and Percussion read bass

Clef.

㌦ノン

′…∴∴霊

㍉∴言∴田圃

紹彊遷圃

`㍑若杉)

辿_丁畦一旦坦韮Therea「e7 lette「names used in music〃 (A′ B′ C′D′ E′ F′ and G〉 Whengoing

higher on the staff′ We gOforward inthe a看phabet. When going iower onthe

staff, We gO backwards inthe alphabet. When goinghigherand we reach G′ We

start backoverwith Aand continue on. When goinglowerand we reach A′ We

start backwith G and continue on.

A B C D E F G A

しEDGERしINES

重出吐出壁are additiona一一ines added above o「 beiow the staffto extend the

sta什Our note nameS COntinuetogo alphabeticaI up ordown with the iedger

Iines. Below are examples of reading notes on ledge川nes in both clefs.

命　　　　　　でF

G F E DA B C D

3

NOTE RELATIONSHIPS

The fo=owing chart shows the break down of note vaiues・

Examp!e‥ tWO half notes equal one whoie note.

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Z on bo龍Om =

く}∴∴ iこ　2

」 =1

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A time signature te=s us two things:

← The top numberte=s us the number ofbeats in each measure.

← The bottom numberte=s us how many counts the whoIe note gets.

4 on bo龍Om =

く}　　=　4

」 =之

」

8 on bottom =

{}　　=　8

」 =。

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丁寡巨S

A蛙is a curved iinethat attaches 2 o「 mo「e noteS Ofthe SAME pitch. Ties add

notevaluestogetherand areto be played as one unb「oken note' Multiple

examples of counting tied notes a「e given be-ow (each example is treated as

being in a time signaturewith a 4on the bottom):

」嵩器霊霊詰.2 beatsforthe half note+ 1 beatforthe quarternote = 3 beatsforthetied notes.

」 J The quarter note reCeives l beat・

徽-_。′　　The eighth note receives % a beat・

1 beatforthe quarter note+掬beatforthe eighth note = 1加eatsforthe tied

notes.

SしURS

A吐出is a curved linethat a舶Ches 2 or more nOteS OfD睡RENT pitch. Thefirst

note under a slu「 marking isto betongued and all remaining notes should not be

tongued.

董≡圭T。ngue/ ¥Jふngu。d

看臆臆臆臆臆漢 � �

。。。.。。_二重

Tongued

与

DOTTED NOTES

A dot added after a note changes the note’s value. A dot always ADDS HALF OF

WHATS B即ORE I丁. Multiple examples are given below (each exampIe istreated

as being in a time signaturewith a 4on the bo請Om〉:

丁he haIf note receives 2 beats.

ThedotADDSha肝of2tothe note. Haifof2=1

2 beats fo「the half note + 1 beatforthe dot = 3 beats forthe dotted half note.

The quarter note receives l beat,

ThedotADDS halfofltothe note. Halfofl=%

1 beatforthe quarter note+% a beatforthe dot= 1 74 beatsforthe dotted

quarter note.

The eighth note receives % a beat.

The dotADDS haIfof%tothe note. Halfof% =%

% a beatforthe eighth note + %ofa beatforthedot =% ofa beatfo「the dotted

eighth note,

DOUBしE DO丁丁ED NO丁ES

What happens ifwe have a note fo=owed by 2 dots? Thefi「st dot ADDS half of

the note vaIue and the second dot ADDS half ofthevalue ofthefirst dot.

An example is given below:

丁he half note receives 2 beats.

ThefirstdotADDS halfof2tothe note. Haifof2= 1

The second dotADDS halfofthefirstdot. Halfofl = %

2 beatsforthe halfnote + 1 beatforthefirstdot+% a beatfo「the second dot=

3 % beats for the double dotted ha看f note.

6

COUNT書NG RHYTHMS

The following gives examPles of how to count COmmOn rhythm patternS

in time signatu「esWith a 4 on the bottom.

Time Signatu「es with a 4 on the bQ豊坦哩

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7

KEY SIGNATURES

A kev si帥ature is a set ofsharps !2±fiats atthe beginning of a piece of musicthat

te=s usto playcertain notes as sharp o「flata=thewaythrough the piece. The

key signature is derived from the sharps or flats present in the major scale.

Kビy Signoでures will坐型望COntOin both 5ho岬s md」的ts o高he same umビ!

たxamDie ♯ 1:

The first set of exampIes below showthe Bbmajor scale w而ten without a key

signature. There aretwo notes in the sca-ethat arefIat: Bb, Eb.

The second set of examples, Show the scale wr柾en using a key signature. The fIat

notes in the scaie have now been moved overto the key signature.

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1n the above examples, the same notes are pIayed fIat each time.

Key signatures are read from leftto right. The sharps and flats are ALWAYS put in

the same order.

TheOrderofFlatsis: B E A D G C F

TheOrderofSharpsis: F C G D A E B

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8

巨NHARMON ICS

whenwesharp (#) a note,WegO higheronthe keyboard. (ExampIe-Cto C#〉

when weflat (b〉 a note, WegO Ioweronthe keyboard. (Exampie-Dto Db〉

Noticethat both C#and Dbare on thesame keyon the keyboard・

丁hese notes are Ca=ed enha「monic.

旦出面出血坦坦吐臆are Written d冊er呈出

There are several enharmonic notes thatwe see on a regular basis'

You need to befam出arwith a旧he enharmonic notesto be a proficient

muSiCian.

The enharmonic notes are as foIIows:

MAJOR and CせROMAT格C SCALES

In music, a SCale is a series ofascending (going up) and descending (going down) notes.

There are many types ofscales. TheJ± and the Chromatic Scale are explained

below.

A major scaie is based on a specific series ofwhole steps (W) and halfsteps (h)- A

Chromatic scale is made up enti「eiy of haif steps.

A who!e step consists oftwo half steps. A halfstep is the distance between two

adjacent keys on a keyboard.

Exampie:

The distance between

these two keys is a haIfstep.

The distance between these

; two keys isa wholestep〇

四The fo=owing is an exampIe ofa major scale startingon C. The placement ofwhoIe

StePS (W) and haifsteps (h) are marked.

The fo=owing is an exampIe of a chromatic scale starting on C. The scale contains only

halfsteps.

10

圏圏圏圏圏圏圏

CIRCしE OF FOURTHS

囲--○○甲〇着Ib

さ#lさ容

ORDER

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OF FしATS

B E A D G C F

型坦呈哩墜F C G D A E B

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11

格NTERVAしS

ln muSic, the term interva! refers to the distance between two notes'

Each interva出as a specific name. Those names are shown below and an

explanation on how we find the name.

1n orderto find an interval name, We muSt COunt a旧etter names invoIved

between and includingthe letter names ofthe notes shown.

些旦堕坦

InvoIves l note name

second I2ndl

lnvoives 2 note names

ニ吐出竜也invoIves 3 note names

垂世塵山室凸invoIves 4 note names

型出し上皇輩

Invo!ves与note names

圭的h (6th)、

invoives 6 note names

Seventh 17thl

lnvoives 7 note names

旦塾Ye (8豊

Invo!ves 8 note names

(both pitches are C)

(2 letter names-C, D)

(3 letter names-C, D, E)

(4 Ietternames-C, D, E, F)

(5 letternames-C, D, E, F, G)

(6letternames-C, D, E, F,G,A)

(7 letternames鵜C, D, E, F, G, A, B)

(8Ietternames-C, D, E,F, G,A, B,C)

We can continue to go higher byjust continuing to count the lettel‘ nameS

invoIved in each inte「val,

12

AR刊CUしATIONS

A clear understanding of articulations and how theyare pIayed is ve「y important

to create a good, uniformed ensemble sound・

The foIIowing chart shows articu-ation types′ W「itten representations of the note′

interpreted vaIues ofthe note′ Visuahepresentations ofthe note length′ and a

description of how each should be played'

「 　Na剛e � �InterPreted Value �Visualし ofN �en虞h ote � �Desc事iption Written

l SlightlYSeperated LighttySeperated (1/2valueofMw冊ennote)

」 �串 �� �

Staccato �」 �事 �〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇 〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇〇 � �

事 ��� �Heavy,Detached (3/4valueofwr請ennote) Accent 丁t �」 :t- ���

星章雪重量 ��Fu旧engthnote (FuIivaIueofwr請e…Ote) Short,Intense (Accentedhard,1/2vaiue)

」 �」 �� enu　O ���� �

Marcato �I〇、 」 �車 �� >- �帖一一音量害ココ害星

In the co/umn Jbr visuc'/ /ength Qf the note声aCh box /s representOtive担be。t

clnd the 5haded orea is the /ength the no亡e shouId be pIoyed within th。亡bec,亡・

13

PHRAS営NG

A吐坦墾, in music, is a complete musical thought・ Ph「ases are typica=y 4 or 8

measures Iong (but may be more or less depending onthe music).

しOOk at the fo=owing musical seIection (Twinkle,丁winkle LittIe Star):

This selection can be broken into 3 phrases, eaCh 4 measures Iong.

PH鼠鼻Sた宣 PHRASE 2

PHRASE 2 cont FHR鼻息と3

ln orderfor our phrasing to be correct and to produce a compIete musical

thought, We muSt b「eatheQNEatthe end ofthe phrase o「 at breath marks

PrOVided by the composer.

if we breathe in inappropriate places, Our Performance becomes segmented and

Choppy and does not make sense to the audience. To unde「stand this concept,

try singingTwinkIe, Twinkle and taking breaths at random spots in the song・ Then

Singthe song again, breathingthe end of each ph「ase only'

Breathing at appropriate places is oniy one part ofmusical phrasing. We must

also pIaythrough the phrase in a musicaI way by emphasizingthe high points,

Playing dynamics, articulations, etC. This conceptw紺be covered in more detaiI as

We Pe「form our musical selections.

宣誓豊柴豊藍宝器悪幣First, We need to define what a good p「actice session is supposed to encomPaSS:

1. W迎ニ!哩- Long toneS’breathing exercises′一ip s-urs′ registerjumps′ etC. (5 minutes)

2.塾壁- Practice sca-es da時to improve other aspects ofp-aying・ Workon accu「aCV and speed

to improve teChnica- passages. (5 minutes)

3.唾-丁his shou-d first inc'ude musicthat is NOTeasyto play. Pu-I outthe sectionsthat need

the mostwork and focus on those items・ Then′ forfun′ PlaYSOme Ofthe thingsthatyou can

aI「eady pIay before pu師g YOur instrument uP. S哩吐迦襲吐血垣哩出血gi!垣里庄型

4. Si畦坦坦- Pick a songout ofthe bookitnd othersheet music′ etC' and sight-read a piece you

have neVer Seen before. This w冊elp with YOur abiIitv to be more accurate the first time you

Nowthatwe have defined what a good practice shou-d be′ here are a fewtechniquesthatvou can uSe

to make you「 praCticing more e師ient・

1. When plaYing atech=icai passage such asthis:

a. change the rhythm to -onger note values to better attain the fingering patte「冊

b. Change the rhYthm to the fo-lowing patte「nStO allowthe fingersto reSt On Certain notes

Iongerto aIIow for muscIe memory to deveIop:

こ二二二=二二二二二二二二=:=二二===亡二二二二二二二二=二二千二

踵韓重畳語呂日干∃詰∃目星　　　白く1

c. The foIIowing may also be done (ifthe above is not attainable immediateiy) to improve

tonguing and muscie memorY.

轟妻垂≡車重

SOUND WAVES AND TUNING

Eve「y pitch that we play produces a sound wave.

批判冊冊冊冊冊Each high and low point on the wave is a single vibration. The number ofvibrations per

second depends on the pitch that we piay and in what octave we pIaythat pitch in.

ifwe play the fo=owing:

毒≡The pitch creates 440 vibrations per second.

As the pitch gets higher, the vibrations increase. So′ the same pitch one octave higher

vibrates twice as fast (880 vibrations per second).

毒≡As the pitch gets Iower, the vibrations decrease. So′ the same pitch one octave Iower

than the originai example vibrates at halfthe speed (220 vibrations per second.)

葦≡lt is possible to play every pitch with the numberofvibrations faster or sIowerthan the

desired outcome.旧nstruments in the group are函ying pitches with d冊erent numbers

ofvibrations per second then the sound waves do no川ne up.

When the sound waves do not ilne uD D「OPerlv. we a「e Dlavin賃′’out of tun亀土

When we are playing ′′out oftune’’, yOu W川hear beats (PuIsing) in the sound between

the instruments. We must make adjustments to our instruments to lengthen o「 shorten

it so thatthe vibrations w川be begin to line up and we can pIay Ilin tune′I・

Piaying ′′out oftune′′ is dispieasing to the ea「 and should be fixed immediately to訓ow

fora top notch performance・ An audience does notwantto =sten to an ′loutoftune’’

band. It is like listeningto some one scrape theirfingema=s down a chaIkboard.

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16

ENSEMBしE BALANCE

in orderfora band to sound its best′ We muSt P-aywith proper baIance. The

following diag「am shows us howwe shouId baIance the ensembIe.

Remembe「, the instrument Or instrumentS P-aying the melody are ALWAYS the

most important and shou-d bethe most prominent. After making surethe

melody is hea「d, the ensemb-e mustthen be baIanced asfoIIows‥

17

脚曲凹型ifyou hearyourselfoverthe entire ensembIe′then one or more ofthe fo=owing isthe

PrOblem:

1. BAしANC亡:

lfyou hearyourselfabove aII others in yoursection or band′ YOU are

OVERPOWERING or OVERBLOWING.

Make an adjustment to voiume by playing softer. Lose vour individual

隅田皿闇　だ

2. BLEND:

lfyou st冊earyourseIfand you made thevoiume adjustment in拙, then

YOU are PしAYING WITH POOR工旦NE QUAしITY.

Make an adjustment with your embouchure, breath support, Or POStu「e.

Poortone quality w川not blend with your section o「 band.臆しOSe臆迎坦

individual identitv!

3. 1NTONATION:

lfyou s刷hearyourselfand you made the adjustments in糾and #2, then

YOU are PLAYiNG OUT OF丁UNE.

Adjustthe length ofyour instrument. Applythe 6step beat less tuning

PrOCedure beIow.

1. Asyou play Concert Fwith the band′ 1isten forthe ,′beats′′・ Make an

adjustment with the bar「el, mOuthpiece, Or Slide. Did的e bea鳴sDeed蹄

?r事Iow downヱ

2. 1fthe ′′beats′′ are faster, VOu mOVed the barrel, mOuthpiece orslide in the

wrong direction. Move it in the opposite direction.

3. 1fthe ′′beats′′ became sIower, yOu are making the correct move. Continue

in this direc南on untiI a= ′′beats′′ are eliminated.

4. ifyou find yourseIf ′′pinching′′ your embouchu「e to e=minate ′′beats’’′

your instrument is too Iong′ jt must be shortened.

5.一fvou find yourself ′′relaxing′′ YOur embouchure to eIiminate ′′beats′’′ yOur

instrument is too short, it must be lengthened.

6. When you are playingthe same pitch′ Withoutany umecessary

embouchure pressure o「 relaxation′ and you a「e not abIe to identify any

′′individuaI sound当n your section, the you and you「 section are perfectly

in tune and pIayi=gWith proper balance and blen'

哩MUS上CAしエ哩凹皇1.曲-P-aythrough the lSt endingthen p-aythe repeated sect-On Of mus-C′ Skippingthe lSt endIng

and pIaying the 2nd ending.

2.坐墜n!-ArticuIation that meanstO emPhasizethe note and plav‰fthewritte'1Value.

3. Acce-erando-Gradu訓y quicken thetempo.

4. 4!蛙哩-Anvsharp′flator natura- sign which appea「s inthe musicwithout being in the keysignature.

与. 41座聖-iiveIytempo.

6. Andante-Siow′ WalkingTempo

7. Articu-ation-Howwetongue OrnOttOngue a nOte.

8.坐E凹唆一Return tOthe original tempo.

9.堕i匝瑳一Vertica。inesthat divide the staff.

10.堅!唾-the puIseofmusic.

11. Breath Marl(一丁ake a deep breath through your mouth.

12.壁f- indicates the position of note names on a muS-C Staff. (Treble′ Bass′ etC・)

13. S蛙-C-osingsectton Ofa piece ofmusic.

14. ConsonanCe- harmonious′ Pleasing to the ea「・

1与・ Crescendo - Gradua=v get louder・

16.旦旦上apQl岨-tO the beginning・

17.堕L5e帥O住立-tOthe sign.

18. Decrescendo - G一・adua=v get softer.

19. Diminuendo-Gradua=y get softer"

2O. Dissonance-harsh′ lack ofharmonY‘ Not pieasingtothe ea「・

21.塾!-Adds ha冊evalue ofthe noteto itself.

22. DoubIe Bar-indicatesthe end ofa piece ofmusic.

23. Q畦-A composition (Piece of music) with two dIfferent parts being played or sung atthe same time.

24. Q±-TeIi us how Io一」d orsoftto pIay.

25. E9凹型-Hold the note o「 reSt longerthan normal.

26. E唾(fee-nay)-the end.

27.呈出- makesthe note sou=d lower and remains in effectfortheentire measure.

28, Ef畦-Plav Ioud

29. Fortissimo - PIav verv ioud

30.坦型型-tWO Or mOre nOteS P-aved together. Each combination forms a chord.

31. RE畦哩辿些一te-ls us which notes to p-aY aS Sharp or fIat throughout a piece of music.

32.哩型J:垣壁-Short iines above and beIow the staffi These lines extend the staff so that more noteS Can be

piaved than just the notes on the staff.

33. !型塑塾- PIay smoothIv・

34.哩哩i9-Articu-ation that meansto emPhasize the note and play for % the written value.

3与・ Measure-the space between two ba川nes.

36. M地-the mainthemeoridea ofthe piece ofmusic.

37. Mezzo Fol.te- Play medium loud.

38. Mezzo Piano-PIay medium soft

39. Moderato - Moderate tempo

40. ±-CanCe-sa f-at orsharp and remains in effectforthe entire measure.

41. Pianissimo - Play verY SOft

42.堕型哩-Plays(爪

43.坦出世蛙-One or mOre nOteS that come before the firstfuIl measure. The beats of Pick-uP Notes are

subtracted from the last measure. Mav aiso be c訓ed an anacrusis.

44. Rallentando- GreatIy sIow the tempo.

45. Ritardando - Gradua=y sIowthe tempo.

46.塾型哩- makes the note sound higher and 「emains in effect for the entire measure.

47.辿- Curved line connecting notes ofdifferent pitches. 1ndicates tO the performer to not tongue the notes.

48.重出- enti・e SeCtion or group Plavs.

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19

49. S坐一One Pe「SOn Plavs.

50.塾塑塑- PlaY a nOte for鮎he written value.

与1. f壁一a SetOf5 thesさnd 4spacesWhere notes and rests are placed

与2.工呈出哩-the speed of music.

53. I聖堂-Articu-ation that meansto Perform the note light-y and forfuli written value.

54.哩-A cu「ved line connecting notes ofthe same pitch and indicates to the performerto add the connected

note vaiuestogether and pIaY aS One unbroken note.

与5.哩哩ji鮎重出皇- indicates how manv beats per meaSu「e (top number} and how manY beats the whoie note

56. I埋i!遊- the act of raising and lowering a pitch of an instrument tO PrOduce the correct tone Of a note.

与7.辿迎-eVe「yOne Piay.