THE YAMAHA ADVANTAGE. by Sandy Feldstein and Larry Clark Musicianship from Day One Welcome to the Yamaha Advantage™ We are happy that you chose to join the band. Learning to play a musical instrument will be something you will cherish for the rest of your life — most important of all, it will be fun. The Yamaha ‘Advantage contains music of all cultures and all styles from rock to classical, to provide you with a wide variety of enjoyable music to play. Everything you need to know to play your instrument is included and reinforced so you will quickly become a proficient musician. If you have a computer, you can visit www.yamahaadvantage.com, a Web site designed to help you learn more and have more fun. The recorded accompaniments available separately or downloadable from the Web site are recorded by a great band. They will provide hours of enjoyable play-along experiences and let you hear professional musicians playing the music contained in your book. Whether your goal is to be in a rock band, a symphony orchestra or just to learn to play an Instrument, we know the Yamaha Advantage will help you get there. Have a great time making music. Ay Ghed Ring Cla About Your Book The Yamaha Advantage” is designed to look like a computer screen — like an Internet Web site. The “buttons” at the top of each page show the concepts you will learn throughout the method. Everything new at the top of the page is presented with a colorful drop-down menu. Each exercise that reinforces those concepts is highlighted with a corresponding color. For example, ifa new note is introduced, it is shown in a red drop-down menu. The number of the exercise that first uses that note is also highlighted in red. The first pages of your book introduce the best notes to get you started on your instrument. Take your time and get off to a good start. Throughout the Yamaha Advantage you will see a picture of a hand pointing to extra exercises which appear at the back of the book, Use these exercises for additional practice. CARL FISCHERe SARL FISCHER? Sehr el cornea een en te YAMAHA wean ws in te ET ee SE ee ane YBM115 Pontad in ne USA. ISBN. 0-8258-4407-X3 Caring for Your Baritone ‘Assemble, tune, clean and lubricate your instrument for the first time under the guidance of your teacher. ay Inserting the Mouthpiece ‘The mouthpiece and mouthpiece receiver are easily damaged by improper assembly. Insert the mouth: piece into the receiver, giving ita slight twist to secure it, Never force a mouthpiece into place, as it may become stuck. If this should happen, take the horn to your local dealer or band director to have itremoved, they will have a special tool to remove stuck mouthpieces. Never use pliers or other tipping tools to remove a stuck mouthpie Mouthpiece Mouthpiece Receiver oy Getting Started Sit up straight onthe edge of a chair with your feet ft on the floor + Hold baritone with thumb of right hand between valve one and two and fingers curved pushing valves straight down. + Left hand wraps around valves, holding the third valve slides. Water key’ Main Tuning Slide mouthpiece centered on lips with 2/3 upper “Take a full breath firm comers of ips down and exhale to make lips “buzz” Inthe mouthpiece. Play long steady tone, + Now try this with mouthpiece attached to instrument. FH To keep your instrument in optimum playing condition, have it cleaned and inspected by a qualified repair technician annually.ay Tuning Your Instrument ay Caring for the Interior of Your Instrument. Pitch is affected by temperature, so be sure to warm up your instrument before playing by blowing air through it. To tune low brass instruments, adjust the tuning slide until you achieve the desired piteh To fine tune your horn, adjust the individual tuning slides connected to each valve casing. Consult your instructor when doing this forthe frst time. Caring for Valves and Valve Casings ‘The valves and valve casings are very important parts of your instrument. Take extra care hot to bend or scratch them. The following steps should be taken before and after each use ofthe horn. Applying Oil to the Valves + Unscrew the top valve cap from the valve casing. Pullout the valve in a straight line-do not twist. Apply valve oll, coating the entire valve. + Place the valve carefully back into the proper casing, aligning the valve guide with the guide slot. Tighten the top valve cap. Move up and down to ensure even oll coating over the entire surface. IF there is any damage to the valves or valve casings, take your instrument to your dealer for repai. Lubricating the Tuning Slides Slide grease keeps slides airtight and maintains smooth movement. itis fan essential factor in the care of your horn. = Remove slide while pressing the corresponding valve. Wipe clean of dit and foreign substances. + Apply a thin ayer of tuning slide grease to the inner slide surfaces. + Replace the slide, working it in to ensure that the grease is evenly and thoroughly spread, Cleaning the Water Keys Atone hole cleaner may be used to clean and dry the water keys. Cleaning the Mouthpiece + Soak the mouthpiece in a solution of warm soapy water. Using a brass ‘mouthpiece brush, scrub the Inside and outside. Rinse thoroughly with clean, warm water Caring for the Exterior of Your Instrument For daily care, use a polishing cloth to remove dust and fingerprints, Storing the Instrument ‘Always use your case for storing the instrument after playing and for trans porting. Be sure the mouthpiece and other accessories are secured tightly, as they can scratch and dent your horn if they come loose during transportation. Do not put anything in the case that could place pressure on the instrument. wy oy ‘erwyamaheadvantage. com 4*tedgertine Time Signature four beos (counts) n each meosure Your First Note Pay ——* Double Bar WTR ¥ Barlines Treble or Clef _pteasue_, estat + Rest Rest Now in Quarters ——_— Play Rest _ Play Rest - eeee , eer ee, i} All Together Now play numbers 1, 2 and 3 together without stopping. eo Your Second Note Play Rest Play. Rest Play oe The Second Half Play The Second Quarter Play Show That You Know Now play numbers 5, 6 and 7 together without stopping. Rest Rest Rest ma— > The Third Half Play Rest Play est The Third Quarter Play Rest Play Rest Play the Right Length Now play numbers 9, 10 and 11 together without stopping. Time to Move Play Rest Play Rest ' Play the Rest Play Rest Play Rest Play Rest Play Rest _ Play Rest Play Rest_ Play __—Rest ra — Now You Have It All Together Now play numbers 13, 14 and 15 together without stopping.Review Theory pages 4 and 5 It Is All Air _ Play Rest Play . The Second Note Play Rest More in Four Play Rest Play. Rest a, oS The Third Note It’s Easy Now wd wed J J = —Notes Rests, [ Duet - A composition Time Signature - Bs os. awen np four beats (counts) in ¢ measure le 4 Beas ‘= Agompost = quarter note gets one beat a4 N\ / oman ea Half -2Beats am. NL ? 2 bd gdmmm beet Same Notes New Look Listen While You Play Woodinds All Doxe a Perseion Al . THEORY ‘Add the bar tines, name the notes, then play. (Duet) SANDY FELDSTEIN & LARRY CLARK ; 9.1940) (0.1963) HP PAG 40- Advantage RytimNew Note Exercise New Note Workout Hot Cross Buns English Folk Song PLay ey Ear « Lightly Row German FolkSong = Rock Time (Duet) ‘SANDY FELDSTEIN & LARRY CLARK. (0.3940) (0.1963), ‘ema SP page 42 - Advantage BaritoneREET Tepes iiniecs | inroucon ~ two beats in each measure = quarter note gets ane beat Good King Wenceslas English Carot Traditional Jingle Bells JAMES PIERPONT . (1822-93), RHYTHM. ‘Add the bar lines, write in the counts, clap sng and play. ap ge Ode to Joy t from Symphony No. 9 ! wom van BEETHOVEN i 1. Oud (0770-1827) en a ~nonou eTie Them Up Old MacDonald BARITONE (LONG TONES) Hold each note as ong as possible witha nice, clear tone. Rest two seconds between each note. 2 2 . . 2 2 3 SSS = =s ——— Jolly Old St. Nicholas (Duet) . Traditional carot, HP Page 40 - Advantage Rhythm, page 42 Advantage BaritonePiney Gancent sip 2 ro. Siow 8 arth i Measure Tempo | Rest Count- 12342236 The Victors . Chorale and March nit stor | __ eine so instock When the Saints Go Marching In Traditional Fast arranged by Sandy Feldstein & Lorry Clark = |Key Signature Key of C - no flats (b) or sharps (#) Scale New Note saree matie| P (piano) ~ soft Tempo: Moderately = ea eevee f Scale Study : P Shoo Fly MusiciANSHIP (DYNAMICS) w dtp ft Pf Pp 1 Moderately GH Pave 42 - Advantage Baritone Russian Folk Song (Duet) = LUDWIG van BEETHOVEN (770-1827) iLSolo ~ one player plays f Ferm: Round ‘Dani ~ everyone plays | Soli ~ one section plays === crescendo Chorale Round Warm-up [a] (Three-part Round) — <7 Klosé Technique Study HyACINTHE-ELEONORE KLOSE ns (0808-80) Cassions Song Sooo 9 Tat EDMUND L. GRUBER 1941) SS Moderately Jamaican Faksong P —F >— P f Puay By Ear - London Bridge English Folk Song P = | | igi | Motes ‘oa . (Baa PBChorale Warm-up =! =+ =J —=Sf P a Eighth-Note Study Baa Baa Black Sheep 9 Dati Moderately SololSol 9 SololSo 7 ~ P Tat 4, Solo 5 Tut a : P f ReyTHM : Wate nthe counting, then lp, sing, and play. J in dala! J = scteee : Skip to My Lou Fast uel American FokSong GH pase 40- Advantage Rhythm E 'ReevTitss Sharp (4) } Key of 6 one sharp (F#) Natural (3) 3 Fl a] New Note + + oe ae New Note Exercise * Scale Study P 3 Start Bach pattern very slowly. Play 8-10 times gradually increasing speed each time, | Frére Jacques (Round) French FtkSon 3 : wang SBP PAE Adratage atone a ~via= three beats in each measure = quarter note gets one beat JACQUES OFFENBACH Barcarolle (1819-80) Moderately Slow iit a = PB This Old Man Moderately “American Folk Song Blue Danube Waltz ronan yan srs (veo (4825-99) =f GH Page 40 Advantage Rhythmoi ‘Symphony No. 1 (Theme) JOMANNES BRAHMS Moderately Slow (4833-97) - —_—_—__e s——__° * <_ TP. « wok A Mexican Hat Dance = ===: Composition i a apes ear) ‘Complete this piece using only the notes, rhythms and dynamics you know, then play. Academic Festival Overture (Duet) JOHANNES BRAHMS, (4833-97)| aa a at Lpermata | Sing t “\ — Hold the (tne Se Fd | Oatotoe, i and Rest 6 + p 7 Chorale Warm-up Clarke Technique Study HERBERT CLARKE (1867-1945) Musette JOHANN SEBASTIAN BACH (4685-1750) Fast ~—————z - a Moderately Traditional a Gis ft RuyTHM. Lovely Evening (Round) French ok Song | Moderately oe Ss - GH page 41 - Advantage Rhythm, page 42 - Advantage BaritonePERFORMANCE Carnival of Venice ‘Theme and Variation talon Folk Song Introduction arranged by Sandy Feldstein & Lorry Clark Fast ‘SANDY FELDSTEIN & LARRY CLARK Fast (0.1940) (1963), www yamahaadvanta coor © 20 tyhaidimnc va aeForm: 12 Bar Blues Merry Widow Waltz fanz ute Fast 1948) ?——=— sf BarITONE (Lip SLURS) Do “ Lo Yisa Goy Moderately Slow (Round) Isat Folk Song tfaeuyricke ix ai. Divs (an) Unison fis) ? e Listening Skills Warm-up - Solaso Tati SoS TSS Ty Syysot Baty ot Bo 8 te bd Tongue Twister jes] Moderately STEPHEN FOSTER (1826-64) | Spring Theme Fast from The Four Seasons AtTonIO VWALDI tas7e-174) As a Ecossaise LUDWIG van BEETHOVEN (Duet) (4770-1827) ia “ y=| andante- moderately slow f Lullaby JOHANNES BRAHMS Andante (0833-97) =f Native American Ftk Song Cliorale St. Anthony FRANZ JosePH avo (1732-1808) Andante eee ? Puay sy EAR : Twinkle Twinkle wens) Trumpet Voluntary JEREMIAH CLARKE (Ouet) (46741707) 1, Andante ae __—_§_,—_-—— #* tf &H pase ar Advantage Rhythm: 7 ; |Chord Tempo: Progression Moderato - moderately C Scale and Chord Progression Surprise Symphony Moderato Theme) wgsraon = oF FE —-- # : Morning. from Peer Gynt Suite No. 1 EDVARD GRIEG Andante iy" (4843-1907) . pee Ne be ee Can-Can . Allegro from Orpheus in the Underworld sncques oFrenaaci (4819-80) MUSICIANSHIP ‘Write inthe phrasing, dynamics, tempo and play the song. ‘Compare your phrasing, dynamics and tempo to others. Moderato Kookabura a (Round) Australian Folk Song roma GH Page 43. Advantage BaritonePachelbel Canon Chorale JOHANN PACHELBEL a __ (1653-1706) = = = —— P f ‘Swan Lake PETERIYICHTCHAKOWSKY (Theme) 2 ae =e ——P William Tell Overture Allegro (Theme) GIOACHINO ROSSINI (1792-1868) BoMPosiTioN/IMPROVIsATION Using the pitches indicated, improvise rhythmically to create & new composition everytime, ‘Some sample ryt are given. You may write inthe rhythms you lke best. iia mith Rockin’ Riffs ‘SANDY FELDSTEIN & LARRY CLARK. (Ensemble) (b. 1940) (1963) 11 ra Fl HP Page 41 - Advantage Rhythmtoe rie | D.C. al Fine (Da Capo al Fine) faa! = Go back to the beginning ‘ond play until Fine (the end). Scaling Down tm f New Rhythm Welsh Folk Song. Moderato DE. al Fine BARITONE (Lip SLURS) Continue down with 1:2, 2-3, 1-3 and 1-23 fingerings. Where Is John? (Round) B.| American Fok Song { i ap SSS GH page 43- Advantage BaritoneDS. al Fine (Dal Segno al Fine) ~ Go back to the 8/90 ‘and play until Fine. ; = a 9 a 2 a see = SSS = a7 ee? Home on the Range =~ __ —__pmscan folksong can ok sone non = = es ae BARITONE (TECHNIQUE) HERBERT L, CLARKE (1867-1945) Play 8-10 times. Start very slowy, gradually increase speed on each repeat. We Wish You a Merry Christmas Tao 1, Moderato (Oued men nurs éPERFORMANCE ‘ Shaker Settings Father James's Song - JAMES WHITTAKER (1751-87) ‘Simple Gifts -JOSEPH BRACKETT (1797-1882) ‘arranged by Sandy Feldstein & Larry Clark Andante. “FotherJomes's Song” ff] Sousapalooza {uN put sousA (Gase-1932) March Tempo [Zwtoh schootcadeusr _"anged by Sandy Feldstein & Lory lark “e1capton” vawass ene 0201 tn aeTo the Next Level A> Above from Below a ma, foes a Arban Scale Study JEAW-BAPTISTE ARBAN a (0825-89), i Shepherd’s Hey English Folk Song, aso = = PoE See ae oe Andantino rapva scnuseet (ued (arer-1026) SH pase 43- Advantage Baritone pemecemRevreces L temps Largo - very siow Working Up Anvil Chorus GIUSEPPE VERO! from Trovatore (4813-1901) Hey, Ho! Nobody's Home (Round) Divisi Rock ‘SANDY FELDSTEIN & LARRY CLARK (0.1940) (b. 1963) a. sais. iy ai. a THeory Wet in the key signature, circle the notes changed by the key signature, then play. —- =E - Largo from the New World Symphony ‘ANTON OVORAK Largo (Duet) (agst=1908)Andante Dynamics: = (mezzo piano) "(mezzo forte) 7” medium soft wT rece fr loud of ee Tallis Canon Chorale a eevee Legato — =o Ritardando (rit) the notes smoothly’ ~ gradually slow down THOMAS TALLIS asi Moderato f mp rit. Scale Study Ee = ae ees Ode to Joy {LUDWIG van BEETHOVEN from Symphony No. 9 (1770-1827) Dreydl, Dreydl = The Duck = ee DS. al Fine Chanukah Song. Chinese Folk Song IMPROVISATION nn nit Happy Little Donkey (Round) Using the notes and raythms given, LI un 3+ improvise or compose your own piece. ‘American Folk SongSliding on Up o 7 Night Song ROBERT SCHUMANN 1, Andante (Duet) (80-56) mp legato vous GH page 43 Advantage Baritone{common Time Tenuto e=4 a Chorale CARL MARIA von WEBER (4786-1826) Pigs vi Allon the Right pe Andante : a ge sa ae ft ANew Jingle ugreron Po SESS pi neeer eae errr ~ _ T — =F Kum Ba Yah E Arcan Flk Song German FolkSong 4 elt ans we Musiciansnie « Streets Moderato rit See the Conquering Hero from Judas Maccabaeus GEORGE FRIDERIC HANDEL (Duet) (1685-1759) - SP page 41 - Advantage Rhythm(GEORG KOPPRASCH Allegro . . (a, 1800-33) Andante American Spiritual Z - = = = + 4 a Se ee | o me oC - ‘mp legato Minuet rwnesee 1750) oe Moderato <5 “oe NSS Re re Allegro Cajun Folk Song Using any notes from the €Majr scale and rhythms you know, improvise or compose your own melody. Dona Nobis Pacem Andante (Round) <, mp legato Traitiona Canon jage 43 - Advantage Baritone www yamahaadva voms GH Page 43 - Advantage Bart wyHymn of Thanksgiving Wagner Technique Study ERNEST. WAGNER Netherlands Folk Hymn wm 0) spe ma Se 162) Austrian Hymn Moderato "i Minuet WOLFGANG AMADEUS MOZART " (@756-91) Fine D.C.al Fine nf "Now ty playing this song starting on low C. Make New Friends (Round) Allegro (ej (0732-1809) FRANZ JOSEPH HAYON West Indian otk Song mn fb] American Camping SongAmazing Grace American Flk Song. Marine’s Hymn Taitional Allegro % Fine 1 mf = DS. al Fine Auld Lang Syne Scottish Folk Song a BARITONE (TECHNIQUE) Alleluia (Round) [WOLFGANG AMADEUS MOZART (756-91) 5 — —— - ci bate = oe GH Page 43 Advantage Baritone rasSOLO PERFORMANCE The Ash Grove Andante Wilsh FolkSong legato PianoSOLO PERFORMANCE The Ash Grove Welsh Folk Song. Andante 4PERFORMANCE, Genesis ‘SANDY FELDSTEIN & LARRY CLARK. (0.1940) (6.1963) Play 3 times third time only venssD pitti jdpdpjo —jpdddjpdayd dd g ged ple ged pla dp pd dd, pg geidetd did det dd ddd jd aed 2 qua jay Pepedietda ddd dp pddddiddderededid dag After page 14 Slow ic 1. f Moderately M1 Gi Dy Dy Ds yy da jdgdjdind jo —pdid nd dep ddd ag f > ——l Moderately pele dd OO Lg f a)After page 17 at rau - fie je gi Day pee ee 4 a Fiypuniannis ADT Ay Ty wm PAA HL dhd yy = qa DTT ALLE ms Tin cug som ARTE Lm a ontoAlter p. 10 After p. 12 H.Ktosé =f After p. 15 After p. 18 ‘Start each pattern ver slowly, play 8-10 times gradually Increasing speed, 2 HKLose = Qe After p. 21Afterp.23 After p. 25, After p. 28 Continue down with 2-2, 2-3, 1-3 and 1-23 fingerings. After p. 31 oS After p. 33 Hear the notes before you play them, and work for accuracy. Alter p. 35 aoe on —_—— a % LotsMusicianship Review Cn ines 13, add the bartnes and ply. P (ian) —— Allegro Dynamics Review Namberthe dynamic indetions rom softest loudest 4), ——9f imezofone) foe) __ up neo pan) Tempo Review Number the tempo indications fom slowest to fastest (1-8. Largo Moderato Andante Repeat Review ‘n tine 7, write this plece as it would be played, then play d. +d +d + Rhythm Review subvac thebeats dd | ° Dn . ee ee dMUSICAL TERMS 12 bar blues astand 2nd endings Accent Ategro Andante Barline Bass clet 3 Breath mark > canon carol Chorale Chord Chord Progression Common time c D.c. (Da Capo) alFine D.S. (Dal Segno) al Fine ‘Aform using a specific chord progression found in popular music. Play the Ast ending first time through, then ‘on the repeat, skip to the 2nd ending. Play the note stronger, with more emphasis. Fast tempo. Moderately stow tempo. Divides the staff into measures. ‘Also called F clef, The fourth tine of the staffs the note F, A suggested place to take a breath. Another name for a round, Song of praise usually related to Christmas. Athymn tune usually lyrical. Three or more notes played at the same time. The movement of one chrd to another. Sameas time signature A piece of music Gradually increase volume, DG. al fine Go back to the beginning and play untit Fine. DS. al fine Go back to the Xsign and play until Fine. Decrescendo = Gradually decrease volume. Divisi ai Dot Double Bar Duet Dynamic Markings: Fermata > Fine Flat Folk Song Form Forte f Introduction Key signature Largo Ledger tines Legato Measure Divided section with some players playing the top notes while others play the bottom. Increases the value of the original note by one half. : The end of a section of music. ‘A composition with parts fortwo players. ‘Symbols that indicate loudness or softness of the music. Hold the note longer than its usual value. The end. Lowers a note one half step. Music taught orally from generation to gener The structure of a composition. Loud. A preparation section to a composition. Shows the notes that are flat or sharp within a piece. Very slow. Used to extend the staff. Play the notes smoothly with a soft tongue. The distance between two bar lines. ‘Mezzo Forte mf Medium loud. ‘Mezzo Plano mp Medium soft. Moderato Multiple measure rest Natural # Note J Phrase, Phrasing Piano p Pick-up notes) Play by Ear Repeat Sign ‘f Repeat within apiece El Rest Rhythm Rtardando ri Round Scale Sharp # Slur —— Soll Solo Staccato J Staff Tempo markings Tenuto J Theme & Variations Theory Te— Time signature Tatton reblecet Tut Unison unis Warm-up Moderate tempo. Indicates more than one measure of rest. Cancels a flat or sharp, stays in effect for the entire measure. ‘A symbol that shows musical pitch & rhythm, ‘A complete musical statement. Soft Note(s) preceding the first full measure, the missing beats may appear in the last measure. Play melodies without looking at written notation Play the music again from the beginning. Repeat only the music between the signs. ‘A symbol that shows musical silence. Organization of beats in time. Gradually stow down, Playing the same music starting at different times. ‘The arrangement of notes within a tonat setting. Raises a note one half step, stays in effect for the entire measure. ‘A.curved line placed above or below a group of nates to indicate that they are played smooth and connected. Tongue only the first note ofa slur, Asolo for more than one instrument. ‘One person playing. Play the note lightly and separated. 5 lines and 4 spaces used for writing mu ‘Terms which indicate the speed of the music. Play full value. ‘A musical form where the rhythm or notes of a theme are changed to create variety ‘The study of the components of musical com- position. Joins two notes of the same pitch, played asif they were one. Indicates how many beats are in each ‘measure and what kind of note receives cone beat. See Folk Song. Also called G clef. The second line of the staffs the note 6. Everyone plays. Allplayers in the section play the same note, Exercise to limber the muscles.FINGERINGS The following products are recommended for the care of your instrument: Valve Oil» Mouthpiece Brush - Flexible Cleaning Rod «Polishing Cloth - Slide Grease Tone Hole Cleaner - Valve Casing Brush - Valve Casing Cleaning Rod vs iG GA A AE OB B c a Db D DF Oe E en vy ee |MHVINWAGS _p bp , o “aU 100g “a8ejueApy eyeweA ay] Sul}a}dwWod Ayjnjssa22ns Aq diysuessisnwi jo paepueys ySiy e Sujraiyre 104 paziuSo2a1 sl jo OJEII IIA 9) uo Aeq woy aiysuenisny SASVLNVACYW