Clarinet & Bass Clarinet ?· Bb Clarinet & Bass Clarinet This Book Belongs To: _____ Building Blocks…

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<p>Bb Clarinet &amp; Bass Clarinet </p> <p>This Book Belongs To: </p> <p>______________________________________________________________ </p> <p>Building Blocks for </p> <p>Beginning Band </p> <p>Essential Exercises and Warm-Ups for </p> <p>Beginning to Intermediate Players </p> <p>______________________________________________________________ </p> <p>Robert W. Wilson </p> <p>Copyright 2010 by Wilson Publications LLC, 331 N. Red Lion Terrace, Bear, Delaware 19701. International copyright secured. All rights reserved. Printed in U.S.A. </p> <p>WARNING: The music, text, design, and graphics in this publication are protected by copyright law. Any duplication is an infringement of U.S. copyright law. </p> <p> 2 </p> <p>_________________________________Table of Contents </p> <p>Introduction ......... 3 The Perfect Practice Session .. 4 Beginning Scale Starters </p> <p> Concert B Flat ... 7 Concert E Flat ... 9 </p> <p>Concert A Flat ... 11 Concert F ... 13 </p> <p>Scale Focus Major Scales Concert B Flat Long Tone Scale Exercises . 15 </p> <p>Scale Exercises ..... 16 Twister Variations .. 17 </p> <p>Concert E Flat Long Tone Scale Exercises . 20 Scale Exercises ..... 21 Twister Variations ..... 22 </p> <p>Concert A Flat Long Tone Scale Exercises . 25 Scale Exercises . 26 Twister Variations . 27 </p> <p>Concert F Long Tone Scale Exercises .... 30 Scale Exercises . 31 Twister Variations . 32 </p> <p>Scale Focus Minor Scales Concert G Minor 35 Concert C Minor 36 Concert F Minor 37 Concert D Minor 38 </p> <p>Scale Focus Chromatic Scales ....... .......... 39 Advanced Warm-Ups &amp; Concepts </p> <p>Articulation Studies ... 41 Flexibility Exercises ...... 42 Extended Flexibility Exercises . 43 </p> <p>Rhythm Exercises Rhythm Concepts . 44 Timing Drills ... 53 </p> <p>Scales At A Glance . 55</p> <p> 3 </p> <p>_____________________________________Introduction How to Use This Book </p> <p> Building Blocks for Beginning Band is a warm-up and technique book for young instrumentalists. There is one book for each instrument and it can be used for private instruction, small group lessons and/or full ensembles. Designed for a beginning instrumental student, it also includes optional high and low notes for more advanced studies. Daily use of this book will help build a students tone production, technical dexterity, music reading fluency and countless other performance fundamentals. Building Blocks for Beginning Band includes four main sections: Beginning Scale Starters, Scale Focus, Advanced Warm-Ups and Concepts and Rhythm </p> <p>Concepts. It is set up in the four most common major concert keys that students will encounter in their first years of instrumental music: Concert B flat, E flat, A flat, and F major. It also incorporates the correlating concert minor keys G, C, F, and D as well as the chromatic scale. Certain sections included a bank of articulations that can be integrated into several exercises. The percussion book includes several variations for each exercise, providing reinforcement of rudiments and essential concepts. Students and directors can adapt Building Blocks for Beginning Band according to individual and ensemble skill needs and ability levels. </p> <p>______________________________________________________ About the Author </p> <p> Robert W. Wilson is the director of Middle School Bands at The William Penn Charter School in Philadelphia, Pennsylvania. He has over fifteen years of combined experience as a drum line and/or front ensemble instructor for the West Chester University Golden Rams, East Lyme High School, Sachem High School, and North Penn High School Marching Bands. Additionally, for several consecutive years he was the invited percussion instructor for West Chester Universitys Elementary, Middle and High School Summer Music Workshops. He was a member of the Boston Crusaders Drum and Bugle Corps, Harrison Bushwackers Drum and Bugle Corps, and Reading Buccaneers Drum and </p> <p>Bugle Corps where he served as both a member and instructor. Presently, Mr. Wilson enjoys teaching private percussion and woodwind lessons out of his home studio in Bear, Delaware, and regularly performs with his jazz quintet. Mr. Wilson has a Bachelors of Music Education at West Chester University, in West Chester, Pennsylvania. While there, Mr. Wilson performed as a percussionist in the Percussion Ensemble, Symphonic Band, and Wind Ensemble, and was a saxophonist in the Universitys Concert Band. He earned his Masters in Music Education from VanderCook College of Music, in Chicago, Illinois. Mr. Wilson would like to thank his wife, Mary Margaret, for her help and support with this project. Special thanks also go to his colleagues, Jeremy Schilling and Hayley Varhol, all of his friends and teachers who provided advice, ideas, and suggestions, and to all of the students at The William Penn Charter School who patiently tested this book. </p> <p> 4 </p> <p>_______________________The Perfect Practice Session How &amp; What to Practice My Band Director told me I need to practice. What do I do? This is a very common question and the answer is easier than most students expect. However, lets answer this question in small chunks. It is easier to understand that way. To start, lets figure out what to do before you even play a note. Before You Practice: </p> <p>! Put yourself in The Practice Zone. Are you in the right mind frame to practice? Is your television or radio playing? If so, then please turn them off. In order for a good practice session to happen you must be completely devoted to your instrument and your instrument only. Find a nice dedicated place where you wont disturb others. More importantly, find a place where others wont disturb you! </p> <p> ! Figure out your goals. Start by picking one tiny musical goal for each piece of music you </p> <p>need to practice. Keep in mind that tone quality should always be a goal. Always strive to make the best possible sound. For example, you can think, O.K. For this tune I want to focus on playing every rhythm correctly. The next time you practice that piece you can pick another concept such as fingerings, articulations, dynamics, phrasing or any other musical concept. As you become more familiar with the music, you can set new goals for yourself. To help you do that, ask yourself what others expect of you and what you expect of yourself. For example, did your band director tell you to work on a specific part of the music? Are you learning a new tune for your next lesson? Do you have a concert coming up? Are you having trouble remembering some new notes or new rhythms? Is there a cool pop tune that YOU want to learn? The list goes on and on </p> <p> How much should I practice? The quick answer is, practice as often and as consistently as possible. Remember, in order for anyone to become better at anything they do, dedicated hours of practice are of utmost importance. Do you think the greatest athlete became great by sitting on the couch all day? Establish an amount of practice time whether it is fifteen minutes or forty-five minutes a day, and stick to it! Use the recommend times below to help you figure out a routine that works best for you. Remember, this is just a guide. </p> <p>Elementary School: 10-15 minutes a day, or 15-20 minutes every other day </p> <p>Middle School: 15-20 minutes a day, or 20-30 minutes every other day </p> <p>High School: 30-45 minutes a day. </p> <p> What if I just dont have time to practice? Some days are hard, we all know. If you dont have time to practice on a certain day, then just practice ten minutes, or look at the sheet music and sing it in your head on the ride home, go through the fingerings, or spend some time buzzing on the mouthpiece. The point is, do something everyday! I guarantee youll see great results! Ok, now WHAT should I practice? Don't measure success by how much you practice, but by what you improve on in your practice session. All musicians know that quality practice is necessary in order to successfully play an </p> <p>Preview Copy</p> <p> 5 </p> <p>instrument. Unfortunately, many students waste time because they dont practice effectively. Dont let that happen to you! Lets break down a daily routine into these simple steps: </p> <p>! Step 1 Start with Long Tones (1 5 minutes). Whats a long tone you say? Its easy! A long tone is simply a long sound! Play each note of any scale (major, minor or chromatic) for 8, or more, slow counts. Long tones help to warm up the muscles, just like stretching before you exercise. It is important to stay as relaxed as possible, maintain proper posture, take in a big relaxed breath and produce a nice full, unrestricted sound. You can do long tones with a friend and see who can hold out the note for the longest time. Or time yourself and try to hold it for longer each day. It is also a good idea for brass players to start long tones with buzzing on the mouthpiece. If youre a brass player, try playing a simple melody like Mary Had a Little Lamb on the mouthpiece! There are some good long tone exercises at the beginning of each Scale Focus in this book. </p> <p> ! Step 2 Scales &amp; Such (5 10 minutes). Since most music is based around the notes of a </p> <p>scale, playing scales, arpeggios, and twister variations are a great way to ease into the music. Get in the habit of checking out the key signature of the piece you are going to play. The key signature is like the instructions for the music. It tells you which notes are sharp, flat, or natural! Once you know the key, try playing the scale in whole notes, then half notes, then quarter notes. Now get your fingers going and explore the scale with some Twister Variations. Think of it as a finger and brain warm-up! </p> <p> ! Step 3 Etudes &amp; Melodies (7 15 Minutes). Remember when I said that you should pick a </p> <p>specific goal to work on each day like rhythm or articulations? Well, playing etudes are great for working on specific musical concepts. An etude (which means, study in French) is a piece of music that is primarily intended for practicing some type of technique. Etudes should be practiced repeatedly so that you can choose different goals each time while making the most beautiful sound that you can make. After all, the point of playing an instrument is to play melodies and make it sound good! Although its important to work on scales and technique, dont forget to play etudes and melodies too! And remember, you dont need to play everything in one practice session. Focus on making smaller segments sound great! </p> <p> ! Step 4 Pieces and Repertoire (10 20 Minutes). After spending all that time and effort on </p> <p>scales, exercises and etudes, now its time to apply what youve learned to your band music! When working on concert music or assigned repertoire, its best to first work on pieces or sections that are difficult. If you have something that is your absolute favorite and you play it well, work on that one less and make it the last thing you playas a treat! </p> <p> How do I know when to stop practicing? The quick answer is, never! Even professional musicians practice every day. When youre finished practicing for the day, pick it up where you left off the next day. When you work on something and you know youve got it then you can go onto something more challenging! Try new things that may be uncomfortable to you. Play exercises at faster tempos or for longer durations to build up endurance. Vary the key signature from day to day. Sometimes it takes several practice sessions to get something right, sometimes months or years. Thats perfectly acceptable as long as you are getting better. If youre not getting better, you may need to re-evaluate how much time and dedication you put into your instrument or review the above practice steps to ensure you are practicing efficiently. </p> <p> 6 </p> <p>________________________________________________ More Practice Tips </p> <p>! Keep a practice journal. Many musicians find it helpful to take notes on their practice sessions. These notes, when kept in a notebook, are called a practice journal. By writing down your goals, what you practiced and what you should do the next time you practice, you take the guesswork out of practicing. Practice journals help you keep track of how you used your time, what was a struggle and what was successful. You can write detailed sentences or just short notes. However you do it, be honest, consistent and thorough. </p> <p> ! Practice for rehearsal/performance. When practicing, try to conduct yourself in the same </p> <p>way as if you were at a rehearsal or performance. For instance, don't sit on your couch and "mess around" with your instrument. Sit up straight with good posture. Try and imitate the way you are going to look and feel on stage. Every note you make, out of whatever instrument you play, should be an attempt to make beautiful music, even with sight-reading. Practice what you perform; perform what you practice. </p> <p> ! Practice with a metronome. Listen closely to timing and rhythmic accuracy. Start slower than </p> <p>the performance tempo then as you feel comfortable gradually build up speed. It is much more effective to play slower and emphasize important concepts and fundamentals than to play fast and lack control. Don't jump into practicing by playing the hardest piece you know, as fast as you can. Warm-up properly and then start the music at a relaxed tempo. </p> <p> ! Remember what you are taught. As you play, think about what corrections were given </p> <p>specifically to you in rehearsal. Remind yourself of what the focus of each exercise should be. Be aware of any technique, rhythm, or tempo problems you may have. </p> <p> ! Practice in front of a mirror. Take a look at your embouchure, hands and sticks/mallets. </p> <p>Youll be surprised at what you can fix by yourself. Practice with one or several others in your section and politely correct each others mistakes. Chances are, if you see one of your friends doing something wrong, you may be doing the same exact thing. </p> <p> ! How is your intonation? In other words, are you playing in tune? Be sure to have a tuner with </p> <p>you during practice. Another great way to tell if you are playing in tune is to play along with the CD that comes with some method books. The CD gives you a perfect example of how you should model your sound. </p> <p> HAVE FUN! Each day play music that you enjoy! Most people like to do things that they are good at. But the way to get good at something is to do it correctly over and over againpractice! The hard work you put into practicing will pay off and soon playing an instrument will be more fun than work! </p> <p>&amp; 44 wA "Mr. Wilson's Favorite"</p> <p>2</p> <p>w, 3</p> <p>w4</p> <p>w, 5 w 6 w</p> <p>, 7w</p> <p>8</p> <p>w,</p> <p>&amp;9 10</p> <p> , 11 </p> <p>12</p> <p> , 13</p> <p> 14 </p> <p>15</p> <p>w, 16 www</p> <p>U(Play any noteof this chord)</p> <p>&amp; 44 B Sol Fa So Good</p> <p>2</p> <p> 3</p> <p> 4</p> <p> 5</p> <p> 6</p> <p> 7</p> <p> 8</p> <p> 9 </p> <p>10</p> <p> 11</p> <p>w</p> <p>&amp; 44 C Ant Hills</p> <p>2</p> <p>w3</p> <p> 4</p> <p>w5</p> <p> 6</p> <p>w7 </p> <p>8</p> <p>w</p> <p>&amp; 44 D Little Bunny, Hop Hop Hop</p> <p>2</p> <p> 3</p> <p> 4</p> <p>&amp;5 6</p> <p> 7</p> <p> 8</p> <p>&amp;...</p>