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** Sight Reading **
- Key Signature / Changes - Time Signature / Changes - Accidentals - Solo / Soli / Duet / Trio - Repeats (ll: :ll, D.S., D.C., etc.) - Tempo / Changes - Style Markings - Problem Rhythms &/or Ranges - Dynamic Markings || O = Important Things
 * = **Sight Reading** ||= **Markings** ||
 * *Build a Road Map

= Practice Areas

[ ] = Bring Out

/ / //= Break / Grand Pause// //' = Breath Mark (Small Break)// ||

** Practice vs. Rehearse **
**Practice Time:** individual time working on such things as scales, technique, and problem areas. **Rehearsal Time:** ensemble time working on such things as balance / blend, musicianship, and other group related musical concepts.


 * Practice Effectively = Develop a Routine **

1. Warm-ups (Breathing Exercises, Long Tones, & Flexibility Exercises) 2. Tune with tuner (iPod) 3. Scales with a tuner 4. Technique Exercises (Tonguing (ST, DT, & TT), Vibrato, Blast Tones, Etc.) 5. Problem Areas 6. Fun Music 7. Cool-down (Long Tones) * Listen to recordings to develop aural concepts of the style, articulation, and good tone. * Make recordings of yourself playing to offer constructive criticism of yourself.
 * Wind Routine **

1. Stretches 2. Rudiments & Technique Exercises 3. Scales on a keyboard instrument 4. Problem Areas 5. Fun Music * Listen to recordings to develop aural concepts of the style, etc. * Make recordings of yourself playing to offer constructive criticism of yourself.
 * Percussion Routine **

**Stars & Stripes Forever (History)**
- Dec. 11, 1987: President Ronald Reagan signed into law federal bill S. 860 "that the composition by John Philip Sousa entitled //**The Stars and Stripes Forever**// is hereby designated as the national march of the United States of America." - Written on Christmas Day in 1896; Sousa gave full credit to God, whom he said divinely inspired him. It also came out of homesickness while he was traveling back from Europe on board a steamer. - It was introduced in Philadelphia on May 14, 1897, and has been apart of every Sousa concert since, usually as an encore, under Sousa's direction. - Written around the time of the Spanish-American War, when our country needed patriotic music. - It was Sousa's practice to have the cornets, trumpets, trombones, and piccolos line-up at the front of the stage for the final trio (starting at ms. 95), and this added to the excitement. Many bands still do this today. -There are **three themes** of the final trio which typify the three sections of the United States.
 * 1. The main theme, or broad melody = the North**
 * 2. The famous piccolo obbligato = the South**
 * 3. The bold countermelody of the trombones = the West**

**Stars & Stripes Forever (History)**
- Dec. 11, 1987: President Ronald Reagan signed into law federal bill S. 860 "that the composition by John Philip Sousa entitled //**The Stars and Stripes Forever**// is hereby designated as the national march of the United States of America." - Written on Christmas Day in 1896; Sousa gave full credit to God, whom he said divinely inspired him. It also came out of homesickness while he was traveling back from Europe on board a steamer. - It was introduced in Philadelphia on May 14, 1897, and has been apart of every Sousa concert since, usually as an encore, under Sousa's direction. - Written around the time of the Spanish-American War, when our country needed patriotic music. - It was Sousa's practice to have the cornets, trumpets, trombones, and piccolos line-up at the front of the stage for the final trio (starting at ms. 95), and this added to the excitement. Many bands still do this today. -There are **three themes** of the final trio which typify the three sections of the United States.
 * 1. The main theme, or broad melody = the North**
 * 2. The famous piccolo obbligato = the South**
 * 3. The bold countermelody of the trombones = the West**

**//Stars & Stripes Forever// (History continued)**
- Sousa was born on November 6, 1854; last performance was in 1932 - Raised as a Classicist during the Romantic Period. - He has a classical taste for balance and structure. He was most comfortable using the proven compositional tools by early Beethoven and Mozart. The result was a perfection in the form of the common military march. - In Sousa's autobiography "Marching Along" he expresses his classical ideals as they applied to his marches: "...a march must be good. It must be free from padding as a marble statue. Every line must be carved with unerring skill. Once padded, it ceases to be a march. There is no form of musical composition where the harmonic structure must be more clean-cut. The whole process is an exacting one. There must be a melody which appeals to the musical an unmusical alike. There must be no confusion in counterpoints. The composer must, to be sure, follow accepted harmonization; but that is not enough. He must be gifted with the ability to choose here and there, to throw off the domination of any one tendency. If he is a so-called purist in music, that tendency will rule his marches and will limit their appeal. How are marches written? I suppose every composer has a somewhat similar experience in his writing. With me the thought comes, sometimes slowly, sometimes with ease and rapidity. The idea gathers force in my brain and takes form not only melodically but harmonically at the same time. It must be complete before I commit it to paper. Then I instrument it according to the effects it requires." - In //**Stars & Stripes Forever**//, he links each of the 5 major sections: Introduction, First Strain, Second Strain, Trio, and Breakup Strain (Dogfight), by using thematic, harmonic, and rhythmic connections. - **Introduction** - a case study of Sousa's use of the four bar intro as a concise overture, every one predicting something to come. - **First Strain** -appears to have no other special thematic relationship with the rest of the march. There is at the end, however, his deliberate attempt to make the march sound "out of step" by syncopating the roaring bass figures. - **Second Strain and Trio** - filled with striking connections and similarities. - **Dogfight** - intense downward chromatics are twice foreshadowed with earlier motives in the bass line. This "battle interlude" also provides strong thematic and rhythmic contrast to all that has come before, and provides a dramatic buildup to the march's finale. It is largely constructed around close chromatic relationships. - **Grandioso** - the added counter melodies of the rising piccolo and trombone lines, both "busier" than the stately descending phrases of the main tune, all provide a perfect match for each other.

**John Philip Sousa (1854-1932)**
- Sousa started in the Marine Band at the age of 13 because of his dad. He was apprenticed for 7 years learning every instrument, including the violin Trombone was his primary instrument. - His marches became the most popular music of the day. When his band came to town, everything closed so everyone in the town could go watch them perform. - He was considered to be the most successful band master of all time. - In 12 years, the vastly improved ensemble won high renown and Sousa's compositions earned him the title of "The March King." - Sousa's band was the first band to play nothing but American tunes. Everyone else was immitating Europe. For example, he was the first to introduce rags in Europe. - Sousa had perfect pitch. One time a foreign dignitary wanted to hear a march from her home country. Sousa didn't know it, but one of his trumpet players did know it. So they went into a back room where he heard it and wrote it out for his band. Thirty minutes later they performed it. - He used his marches as encores of well liked songs. So they weren't played traditionally at the beginning or the end of a performance. Some concerts would have up to 12 marches being played as encore numbers. - The American March - Sousa requires an hourglass shape and not a pyramid shape (as drawn on board). - Sousa's shows were very visual. having feature players coming to the front of the stage. Humorously enough, during one concert, the stage caved in. Sousa climbed out and acted like it was part of the show, while his band played down in the hole for the rest of the performance. - He treated the clarinets like the 1st violins in an orchestra - VERY IMPORTANT!!! - Highest paid member for Sousa was his bass drum player.

1. **Break Strain** - also known as a break-up strain, it is normally used to create a break between the repeats of the trio. A special type of break strain in Sousa marches was the dogfight, characterized by a musical interaction between instrument or groups of instruments playing short musical phrases against each other. For Sousa, it was usually the upper parts vs. the lower parts. 2. **Strain** - a melody or tune. 3. **Trio** - the middle section of a minuet or scherzo after which the first section is repeated. In a march, it comes in the middle of the piece.
 * Definitions:**

**Claude T. Smith (1932-1987)**
- Smith was well known as a composer of music for school choirs, orchestras, and bands. In addition to composing, he was a gifted conductor, educator, and clinician. - He wrote over 110 works just for band. - Smith taught instrumental music in the public schools of Missouri and Nebraska, and he also served on the faculty of Southern Missouri State University.. - Though many of his works were written for educational and public school settings, he also wrote music of a technically demanding nature for such groups as the United States Air Force, Army, Marine, and Navy Bands. - Smith was active as a clinician and conductor throughout the United States and Europe. - He was the recipient of many prestigious awards, including the ASCAP Composer's Award, Kappa Kappa Psi Distinguished Service to Music Award, and the National Band Association Academy of Wind and Percussion Arts (AWAPA) Award. - Smith had a love for sacred music and led many church choirs for most of his professional life.


 * Tempo Range:**
 * Largo** 40-60
 * Larghetto** 60-66
 * Adagio** 66-76
 * Andante** 76-108
 * Moderato** 108-120
 * Allegro** 120-168
 * Presto** 168-200
 * Prestissimo** 200-208


 * Definitions:**
 * 1. Allegretto -** a little slower than allegro.
 * 2. Allegro -** fast; quickly.
 * 3. Andante** - moderately slow; at a comfortable walking pace.
 * 4. Chorale Prelude** - a work for organ based upon a chorale melody. typically the entire melody is presented once in its complete form, as is the case in //**God of Our Fathers**// at rehearsal letter K.
 * 5. Lento** - slow, but not as slow as largo.
 * 6. Maestoso** - majestic, dignified.
 * 7. Rubato** - small slowings and accelerations of the tempo of a piece at the discretion of the performer or conductor to aid in expressing feelings and emotions.
 * 8. Vivace** - Lively, quick.

**//God of Our Fathers//: Form & Structure**
trumpet, featuring eight-count fanfare motive extended; echoed by muted trombone. || of hymn melody; F minor || and euphonium, accompanied by the trombone and saxophone, with the triplet from the fanfare motive stated in the flute, oboe and muted trumpet. || New Section ||= 43-46 ||< Rhythmic and syncopated; in 6/8; dotted- quarter note = 76-80 || accompaniment stated in the introduction. || snare drum, timpani, and trumpet. || the forthcoming key change, presented at the octave in unison. || 138-144; highly rhythmic with syncopated figures in the timpani and snare drum. || punctuated by woodwind chords and brisk arpeggios; percussive with the snare drum, timbales, and bongo; C minor || A minor || major, on a motive derived from the melody, built on the dominant and leading to the first complete presentation of the hymn itself. || E-flat major || woodwinds, with fragment of the fanfare. || with articulated sixteenth and eighth notes; horn and lower trumpet melodic idea, and percussion. || tune; stated in the alto voices; closing on the tutti F major chord. ||
 * = **Section** ||= **Measure** ||< **Event & Scoring** ||
 * = Introduction ||= 1-8 ||< Distant fanfare in F minor in muted
 * = A Theme ||= 9-24 ||< Lyrical flute solo in triple meter with hints
 * = A' Theme ||= 25-42 ||< Theme 1 restated in the clarinet, horn,
 * = Introduction to
 * = B Theme ||= 47-62 ||< New theme presented over rhythmic
 * = B' Theme ||= 47-64 ||< B Theme repeated with the addition of the
 * = Transition ||= 65-68 ||< Descending C minor scale; preparing for
 * = Brief Introduction ||= 6-70 ||< //Allegro vivace// in 4/4; quarter note =
 * = Fughetta ||= 71-77 ||< Statement of the hymn tune in the trumpet
 * =  ||= 78-84 ||< Hymn tune stated in the horns; G minor ||
 * =  ||= 85-91 ||< Hymn tune stated in the trombones; D minor ||
 * =  ||= 92-98 ||< Hymn tune stated in the tuba and euphonium;
 * = Bridge ||= 99-103 ||< Five-measure bridge to pedal B-fla ||
 * =  ||= 106-113 ||< B-flat major; first hint of the tonal shift to
 * =  ||= 114-115 ||< Trumpet eight-count fanfare, triadic;
 * = Hymn Tune ||= 116-131 ||< Hymn tune state in E-flat major in the
 * = Hymn, Repeated ||= 132-147 ||< Four-count fanfare followed by the hymn tune
 * = Coda ||= 148-155 ||< Block chords with opening measures of hymn


 * Definitions:**
 * 1. Bridge -** short musical passage serving as a **transition** between sections or themes in a piece of music.
 * 2. Coda -** extra musical section sometimes added at the end of a piece of music to emphasize the conclusion.
 * 3. Fughetta -** short for fugue; composition in strict contrapuntal style in which one or more themes are played simultaneously, entering at different pitches and time intervals.
 * 4. Hymn -** religious song of praise, thanks or plea; song of praise.
 * 5. Introduction -** the preliminary section of a song.
 * 6. Theme -** complete melody in a piece of music, sometimes called the subject. Themes are often represented by letters, each letter being a different theme, such as A B A (ternary form) and A B A C A (rondo form), etc. Common uses for themes in a piece of music are: (1) Two or more themes played consecutively. (2) Two or more themes played simultaneously (counterpoint).
 * 7. Transition -** same as bridge.
 * 8. Triadic -** three-note chord made up of a root, and notes at the interval of a third and fifth above the rood. Triads may be major, minor, augmented, or diminished, depending upon the types of intervals used.