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Another ABC Presentation
American Band College of

Sam Houston State University
A More Effective
Middle School Band
Warm Up
Practical Application #3
Warm Ups designed for the Big Rapids
Middle School Band Program
Allman A. Todd IV
American Band College

Masters Candidate
July 2011
TABLE OF CONTENTS
Table Of Contents
Directors Biography..............p.3
About Big Rapids.........p.4
The Big Rapids Public Schools Band Program...........p.5-7
Goals, Philosophy, and Routines.........p.8

A More Effective Middle School Band Warm Up Explanation.........p.9-12
Sources Used.............p. 13
Conductors Score
! Major Scales, Circle of Fourths...................p.14-24
! Chromatic Exercises..............p.25-33
! Bb Major..................p.34-51
! Ab Major..................p.52-73
! C Major..................p.74-92
! Eb Major..................p.93-110
! F Major..................p.111-129
! Db Major..................p.130-147
PAGE 2
DIRECTORS BIOGRAPHY
Directors Biography
* The following demographic information was also used in the authors Research 2 Project in the summer of 2010. It is
reproduced here for reasons of situational explanation, which may be valuable in the understanding of the project.
Allman (Albie) Avon Todd IV earned his Bachelor of Music Education degree from Michigan
State University in 2005. From 2005-2009 he was the band director of grades 5-12 for the Harper
Creek school district in Battle Creek, Michigan, and in 2009 became the Director of Bands for
Big Rapids Middle
School in Big Rapids,
Michigan. His primary
instrument is the
trumpet. While at
Michigan State, he was
the marching band
manager and the
trumpet section leader.
He also enjoys
arranging music for
bands, and has
arranged half-time
shows for both the
MSU Spartan
Marching Band and
the University of
Virginia Cavalier
Marching Band.
He is currently pursuing
his Masters Degree
through the American
Band College of Sam
Houston State University
in Ashland, Oregon.
Some of his non-musical
activities include reading,
crossword puzzles, and
water sports, as well as
playing in the premier Big
Rapids community
chamber brass ensemble,
Con Brio Voce, and the
Trestle Bend Big Band.
PAGE 3
ABOUT BIG RAPIDS
About Big Rapids

Big Rapids is a unique community in which the fine
arts are very highly supported. Despite the town itself
being relatively small, there is a university (Ferris
State) in town, which allows for additional performing
opportunities. In addition to the vast number of fine
arts participation o!ered to students, talented adults
in the Big Rapids area may wish to join the semi-
professional vocal or instrumental ensembles stationed
in Big Rapids. There is also a newly-formed big band
starting to take root. Each year, throughout the
months of September and October, Edward K.
Malletts Tuba Bach chamber music festival takes
place every weekend, and each Spring Big Rapids
features an area Fine Arts Showcase.
About Big Rapids Public Schools

From the Big Rapids Public Schools website (www.brps.k12.mi.us):
Excellence in teaching and learning since 1868.
Big Rapids Public School district is a Class B district in Mid-Michigan. We are comprised of a
High School, an Alternative High School, the Middle School (Grades 5-8), 2 Elementary Schools
(Grades 2-4), an Early Childhood Development Center (Grades K-1), and a preschool for 4 year
olds who qualify and others if space allows. Our Big Rapids Community is also home to Ferris
State University. Were very proud to say, this is a community which is founded on education,
with a focus on academic excellence.
All Schools are NCA Accredited. Every school in the Big Rapids district has met rigorous
national standards for quality established by the North Central Association. Big Rapids
continues to be one of a select group of school districts state-wide accredited in all schools K-12.
Our academic program is enhanced with a wide variety of award-winning extra curricular
activities which include: instrumental and vocal music, dramatic and visual arts, and an excellent
athletic program for grades 7-12.
The Big Rapids Public Schools serve a broad spectrum of students, primarily suburban though picking
up some students from rural surrounding areas. The middle school serves approximately 560 students in
grades 5-8. 46% of the middle school population is eligible for free or reduced lunch.
BRPS has quite a bit of technology available to students, but not much in terms of enhancing the music
education of students. In the middle school band room, we have a stereo system that works quite well; I
often plug my computer into the system to play professional recordings for the students, or to play back
GarageBand recordings of the bands that I create. I also use the stereo system to broadcast a
metronome click on occasion. I have also permanently requestioned a projector cart from the library so I
can show videos or Powerpoint presentations. We have not incorporated SmartMusic into our
instrumental curriculum yet. There is a terrific auditorium at Big Rapids High School where we perform
all of our concerts - the auditorium has also been the site of both district and state Festival for many years.
Along with the auditorium, there is a city band shell adjacent to the middle school that has not been used
much, though this year I began holding the jazz bands Spring Concert at the shell.
PAGE 4
THE BIG RAPIDS PUBLIC SCHOOLS BAND PROGRAM
The Big Rapids Public Schools Band Program
The band program at Big Rapids Public Schools has long been a point of pride for the school
system, as well as the community at large. Both the middle school and high school band
programs have built a years-long tradition of receiving excellent ratings at the Michigan School
Band and Orchestra Association Festivals. We remain one of the few school districts in
Northern Michigan employing
more than one band director.
Over the past couple of years,
there has been a bit of turnover
in the instrumental music
program in so far as the directors
of both the middle school band
program and the high school
band program. Four years ago
and three years ago the high
school director, then the middle
school director, respectively,
retired after teaching in Big
Rapids for 30 years or more
each. Big Rapids then saw a
high school director stay only
one year before leaving, then the
year after the same with the
newly-hired middle school
director. However, both

the current high school
director and I plan to stay
in Big Rapids for a long
time, so hopefully the
trend of one and done
band directors has passed.
There are two high school
bands, including a
Concert Band and a Wind
Symphony, as well as a
robust Chamber Winds
program. Next year, the
high school Wind
Symphony has been
selected to perform at the
state music conference.
They were one of only four
PAGE 5
high school ensembles selected to perform from the entire state. Both of the high school bands
meet during the school day, and the Chamber Winds class meets after school, but is still
considered part of the high school directors teaching load, compensated by extra prep time
during the day.
Two years ago Big Rapids Middle
School incorporated the Fifth Grade
into the building. The district
closed one of the elementary schools,
brought the Fifth Grade to the
Middle School, and reorganized the
remaining elementaries. Last year
Big Rapids Public Schools
continued to o!er Beginning Band
to fifth graders, but next year, due to
budget cuts from the state, we will
not be able to o!er Fifth Grade
Band.
There are five bands at the middle
school, one for each grade 5-8, as
well as an 8th Grade Jazz Band.

Of the 560 students enrolled at
BRMS, 260 were in band last year
(77 in 5th grade, 88 in 6th grade,
56 in 7th grade and 41 in 8th
grade). Each band class meets 50
minutes, every school day, all year
long. The Jazz Band only meets
during the final marking period of
the year, and only students who
are enrolled in Eighth Grade
Band may sign-up for
participation in the Jazz Band.
For both of the Beginning Bands,
the high school director comes to
the middle school to team-teach.
Last year I taught the beginning
brass and percussion and my
colleague taught the beginning woodwinds.
Besides meeting as a full band every day, every sixth grade band student also has a sectionals
class during the school day for one of the marking periods. I feel very lucky to be able to o!er this
course, because its invaluable for the younger instrumentalist to get more individualized
attention than the brass class / woodwind class alone can o!er.
PAGE 6
Middle School Band Daily Schedule

First Hour - 8:10-9:00 - Sixth Grade Band
Second Hour - 9:04-9:54 - Eighth Grade Band
Third Hour - 9:58-10:48 - Seventh Grade Band
Fourth Hour - 10:52-11:42 - Lunch/Activity Time (students come into the band room to practice)
Fifth Hour - 11:46-12:36 - Sixth Grade Sectionals:
1st Quarter - French Horns / Low Brass
2nd Quarter - Clarinets / Oboes
3rd Quarter - Flutes / Trumpets
4th Quarter - Saxophones / Percussion
Sixth Hour - 12:40-1:30 - 8th Grade Music History / 8th Grade Jazz Band (4th quarter)
Seventh Hour - 1:34-2:24 - Fifth Grade Band (team-taught)
Eighth Hour - 2:28-3:20 - Planning period
Middle School Bands Instrumentation, 2010-2011

5th Grade (77) 6th Grade (88) 7th Grade (56) 8th Grade (41)
Flute 7 4 10 7
Oboe 3 1 3 1
Clarinet 14 21 8 8
Bass Clarinet 2 2
Bassoon 1
Alto Sax 4 4 6 4
Tenor Sax 1 1
Bari Sax 1
Trumpet 21 25 6 3
French Horn 6 6 6 3
Trombone 16 21 4 3
Euphonium 2 3
Tuba 1 1 1
Percussion 6 5 7 3
PAGE 7
GOALS, PHILOSOPHY, AND ROUTINES
Class Goals and Teaching Philosophy

This year being my second as the band director for Big Rapids Middle School, I felt it was
important that I maintain the good relationships I had cultivated with my students last year, but
also make sure the students understand the high expectations I have of our band program. I
took extra time to establish relationships with the students, but I was very firm and consistent
with maintaining behavioral expectations as well.
My philosophy of teaching music is simple - I know that if I can take students to the summit of
musical experience I will have awakened a lifelong music lover. From Mount Analog by Rene
Daumal:
You cannot stay on the summit forever; you have to come down again...
So why bother in the first place? Just this...
What is above knows what is below... but what is below does not know what is above!
One climbs... one sees... one descends; one sees no longer... but one has seen!
There is an art to conducting oneself in the lower regions
by the memory of what one saw higher up...
When one can no longer see... one can at least still know.
We live by what we have seen!
Its a di"cult thing to get adolescent kids (with just about everything EXCEPT classwork on
their minds) to experience this feeling! I know with this as my teaching philosophy, though, my
teaching will be more e!ective because this pinnacle experience is what I love about music, and
I want to share that with my students.
Class Routines
Each grade level has a slightly di!erent routine. With the beginning band I always start with
mouthpiece buzzing; we work on range, flexibility, pitch, tone, and articulation every day on just
the mouthpiece for about 3 minutes. Then we put instruments together and play exercises out of
Standard of Excellence before working on sheet music. In the 7th and 8th Grade Bands, I dont
often use mouthpiece buzzing, but I have them do major scales every day. The last quarter of 7th
grade and throughout 8th grade I also use the Bach and Before chorales, and I work on one of
those each day before getting to Standard of Excellence, and finally sheet music.
I try to do playing/chair tests at least every two weeks, though when we approach concerts, I
tend to test less often. I am their first band teacher to require practice records, but they are
credit/no credit for turning them in with a parent signature, so I use them as a communication
tool more than a evaluation tool. Ive found certain students will practice, and certain students
will not practice whether I require practice records or not, so the credit/no credit system at least
allows me to know what sort of practice habits (which I communicate very clearly in my
handbook) the parents enforce (or allow) at home.
PAGE 8
A MORE EFFECTIVE MIDDLE SCHOOL BAND WARM UP
Why I Chose This Project

Every single day in band, we warm up as a group. Warm up is not the most significant part of
class as far as the amount of time spent (probably only 10-15% of the period), but it is perhaps the
most important time of the whole class period, because it will determine whether students:
will be physically prepared to play their instrument most e!ectively for the entire class
period,
and will be mentally aware of the elements of music that they will need to execute as
we prepare our concert music during the rest of the class period.
Warm up is di!erent for each of my classes as stated earlier, based on each class developmental
readiness, but regardless of level there are several elements of music that I feel are important in a
warm up:
1. Tone - Playing with a characteristic tone is of utmost importance, even (especially!) at the
beginning stages of learning to play an instrument.
2. Pitch - Notes are either right or wrong. Pitch has to be correct, and I begin teaching
students what this means as soon as we begin playing.
3. Intonation - Once students have enough physical capability to play in tune, it is necessary to
work on this each day.
4. Articulation - Essential to playing music with stylistic appropriateness and aplomb.
Articulation will determine whether the style is played correctly, and may also alter other
fundamental aspects of musical playing, such as tone or pitch.
5. Rhythm - A rhythm is either right or wrong, and students need to know the di!erence
between the two, with confidence.
6. Range - Students must be able to play the notes as high or as low as the music demands.
7. Flexibility - Students must be able to change from one note to another at the speed the music
demands.
Based on developmental level, some areas are more important than others at times. For example,
in my Beginning Band, I am not going to be very concerned with intonation during the first
couple of weeks when they can barely hold the instruments properly! However, as soon as
students are ready we begin working on what it means to play with good intonation.
Benefits of a Warm Up
First of all, warming up properly will each day touch on some (or most, or all) of the musical
elements listed above, to improve overall technique and musicianship in each student. But I
think ideally, the warm up each day also prepares students for the objectives we have for the class
that particular day.
If we as teachers dont connect the warm up to the curriculum of the sheet music the class is
working on, the warm up will become too routine, and a thoughtless process students dont look
forward to. This is a bad thing, because:
PAGE 9
a thoughtless warm up does not ideally prepare students mentally for the thought
processes we want them to achieve in our classes, and
if we set the FIRST IMPRESSION of our class each day as a thoughtless thing,
students will become bored and frustrated. There will be no music-making from bored or
frustrated students, and they will begin to hate warm up. And, we have to warm up
EVERY DAY in band... :( ...
So a varied, appropriate, and applicable warm up each day is needed. I changed my warm up
often, but it was almost always some variation of scales, sometimes in rhythmic patterns based on
the challenges in our sheet music, sometimes in long tones, sometimes in di!erent groups,
sometimes in di!erent scalar patterns, etc. Then tuning, followed by a Bach chorale. My warm
up was based on the limited material students already had in their music folders:
A scale sheet I passed out to them (6th, 7th, 8th grade)
Bach and Before chorales (7th, 8th grade)
Method book
Sheet music
The things I did to help them learn the things I wanted them to usually involved me adapting
what they already had in their folder, but asking the students to read what they already have in a
di!erent way. For example, if I wanted them to gain proficiency with playing a particular
passage I taught them how to read their scale a di!erent way, or I came up with an exercise to
help them understand how to play a particular rhythm. Much of this was rote in nature; I didnt
feel like I had enough time to write everything down for them. Sometimes I would write a
rhythmic pattern down on the board, and that works well, but for the most part a lot of the time
spent was me explaining to them some new method of how to read a scale in thirds, or how to
read a scale in triplets, or how to read a scale in flow style, rather than the students just playing
something they can easily read o! of a page of notation.
While I think rote learning is a useful skill for students to have, what Ive found is that this doesnt
always suit every students learning style right away; it takes several attempts for them to play the
exercise the way I want them to, often taking several more minutes than intended. What was
intended to save time actually ended up wasting rehearsal time. The problem for (some of) the
students was not executing the drill - it was understanding the method through which the
exercise was to be completed.
Thus, this project: Ive put into written form some of the warm up techniques I return to again
and again, changed from a rote method to actual notation, the way middle school students are
accustomed to learning. Not all techniques I use with students are contained within this packet,
but seeds that can be easily altered, made more di"cult or easier, extended, abbreviated, or
whatever will benefit the curriculum the most, depending on the situation. This packet of warm
ups in the first six major (and relative minor) keys I teach my students was designed as a
supplement for MY students at Big Rapids Middle School; they may or may not be helpful to
other teachers in di!erent situations. They are also a work in progress, that I intend to add to
when as needed as my students improve beyond what is written here.
Before the actual warm ups, some very brief explanations on each of the warm up exercises:
PAGE 10
General Considerations
The first six major scales I teach my students are Bb, Ab, C, Eb, F, and Db, in that order.
We work in the key areas of Eb and F before I teach the whole scale, mostly because of the
range considerations for the brass players. Along with these majors, I teach the relative
natural minors as well. The exercises Ive written are in these six key areas.
I only wrote parts for eight groups of tonal instruments (High C, Low C, Bb Woodwind,
Eb, Bb Brass, F, Bass Clef, and Tuba Parts) along with a Rudimentary percussion line
intended to be played on snare drum or similar battery instrument. The reason I wrote only
eight melodic parts is that everything in this warm up is written in unison and each player in
my band can read one of the eight melodic parts. It is written all in unison so everyone has
exactly the same thing on their music stand, tonally. One of my favorite things about the
Bach and Before chorales is that every instrumentalist has all four parts in their music, so I
can ask them to all play soprano, all play bass, play the line youre supposed to, play the
opposite line... the variations are endless, and it works very well. Ive taken this thought into
this warm up supplement.
Every scalar exercise has a percussion rudiment for students to work on, in addition to the
mallet parts. The rudiments focused on in this middle school warm up are: Flam, Roll (in
class, I instruct them to play appropriately varied rolls), Paradiddle, Drag (Ru!), Flam
Paradiddle, Flam Tap, Single Drag Tap, Pataflafla, Triple Paradiddle, Flam Tap, and Flam
Accent. These ten rudiments (plus all the varieties of rolls) are the most common ones to be
utilized in middle school band music, in my experience.
As each scale study progresses, Ive included di!erent levels of achievement. Level 1
exercises are easier than Level 2, and so on. This is not only a way to get more mileage out
of each exercise at several di!erent levels of development, but also a motivator for students
(last night I got through Twister LV 2!!)
While sometimes in the chromatic exercises I use the most common note spelling (Bb
rather than A#), my chromatic scale studies are generally not written that way, but instead
written with sharps leading to ascending notes, and flats leading to descending notes, most of
the time. This is to encourage students to learn voice-leading experientially, to an extent.
However, I tried to avoid Fb, Cb, B#, and E# where possible so I can use these exercises
with even the youngest of my students, so instruction is more e"cient. I do talk about those
strange flats and sharps, but since they rarely appear in middle school music, I dont spend
much time on it. I also use some Remington variations in the chromatic exercises.
Ending each scale study are Chords, designed to teach students to listen for blend, balance,
and intonation, at increasing levels of aural di"culty, and one or two Specials, all of which
are based on Leonard B. Smiths Treasury of Scales. I scoured Smiths Treasury for the
studies that sounded the most interesting (to me, at least) and transposed them (often times)
into the key area of that particular study. Every Special has all four (SATB) parts for each
player, so the teacher can combine and rearrange instrumentation at will.
PAGE 11
Individual Exercises
Major Scale, Relative Minor Scale
Each key area ends with a modification of some of Smiths Treasury, which always contains
the major or relative minor scale in one of the voices (SATB). This long-tone scale can be
used for myriad rhythmic exercises, since each part, including the scale, is written out
completely in each instrument in this project. Another variation is to stagger the entrances of
each voice group for a chordal, blend/balance/intonation exercise.
Flow Style
I came up with this term to describe the way in which I want students to approach this
exercise. The scalar patterns focus is not only on building familiarity with the key area, but
especially also with utilizing four-bar phrasing all in one breath.
Finger Flips, Lip Tricks
The woodwinds (and percussion) provide the Finger Flips, while the brass play the Lip
Tricks. While brass players work on lip slurs, the woodwinds work on building technical
facility within the key area. There are 5 levels of progression, in the keys of Bb major and Ab
major. Only those key areas use Finger Flips, Lip Tricks (FFLT) because of the partial
patterning of the brass instruments. Once students reach the key areas of A, G, and Gb, I
will extend the exercise to those key areas as well. For brass, F and E lip slurs are too low to
be practically used in a middle school setting.
Springboard and Bungee
For the key areas of C, Eb, F, and Db major, instead of FFLT I included an exercise I often
use with my students, which Ive coined Springboard and Bungee. The springboard always
returns to the lower tonic note of the scale, getting progressively higher, while the bungee
always returns to the upper tonic note of the scale, getting progressively lower. The main
thrust of this exercise is to improve students flexibility.
Concentration
These are written in the keys where lip slurs for brass are not a viable option, but the exercise
is easily learned in any key, regardless of notation (once the pattern is learned). Middle
schoolers love (and hate!) when that one guy keeps messing up, so we have to start all over
again until EVERYONE is concentrating!
Twister!
A scale exercise based on Herbert Clarke studies. This exercise, especially LV 2, helps
students gain proficiency with key areas, as well as technical facility.
Thirds and Triplets
Scale variations, notated. I would use these exercises as students become more familiar with
the major scales. They can each be used in conjunction with a scale based on quarter notes if
not all students are ready to proceed.
PAGE 12
SOURCES USED
Sources Used
Elledge, Chuck, Jane Yarbrough, and Bruce Pearson. Standard of Excellence. San Diego:
! Kjos, 1993. Print.
Newell, David. Bach and Before for Band. San Diego: Kjos, 2002. Print.
Smith, Leonard B. Treasury of Scales for Band and Orchestra. Warner Bros. Pubns, 1985.
! Print.
Todd IV, Allman A. Research Project 2 - Band Rehearsal Reflection. Big Rapids, July 2010.
! Print.
Williams, Richard, Jeff King, and Derrick Logozzo. The Complete Instrument Reference Guide
! for Band Directors. San Diego: Kjos, 2001. Print.
PAGE 13
Big Rapids Middle School Bands
Circle of Fourths - Flute
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
C - F - Bb - Eb - Ab
or or or
E-A-D-G-C
C# - F# - B
7 6 5

bb bb w
Concert C Concert F
4 w
SOPRANO &4 w
Piccolo - 0
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
b b b
b b b bb b bb b bw
Concert Bb Concert Eb
Bells - 0
bw
& b b b b bw
ALTO
2nd Flute - 0
2nd Oboe - 0
2nd/3rd Clarinet - 2
Alto Sax - 3
b
b b bb bb b bb bb b b w b b b b b b
Concert Ab Concert Db
b b bb
2nd/3rd Trumpet - 2
1st/2nd Horn - 1
& b b b bw bw
Vibes/Xylophone - 0
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
bb b bb
Trombone - 0
b b b bb b b b b b bb b b bw b b b b b bbbb
Concert Gb Concert Cb
b bbbb
1st Euphonium - 0
Low Xylophone - 0 & b b b b b bw bw
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
# ## ## ##
##
# # # # # # # w
2nd Euphonium - 0 Concert E Concert A
## w
Tuba - 0
& # # w
Marimba - 0
# # # # #
# # # w
Concert D Concert G
w
& w
!
Circle of Fourths - Oboe
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5

w
Concert C Concert F
4 b
SOPRANO &4 w b w
Piccolo - 0
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
b
b b b b bb bb b bb bb bw
Bells - 0
& b b b b bw b bw
ALTO b bw
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3
b b b b b b b b
b b bbbb b b b bb bb
2nd/3rd Trumpet - 2 Concert Ab Concert Db
b bw
1st/2nd Horn - 1
Vibes/Xylophone - 0
& b b b bw b b b bw
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
b b b b b b b bb b bb
b bbbbb b b b b b bbbbb bw
& b b b b b
1st Euphonium - 0
Low Xylophone - 0 bw b b b b b b b b w
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
## ##
## # # # # ## w ## ## #
Tuba - 0
& ## ## w # w
Marimba - 0
# #
# # # # w # #
Concert D Concert G

& # # w
w
!
Circle of Fourths - Clarinet / Bass Clarinet
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5
# #
# # # # w # #
Concert C Concert F
4
& 4 # # w # # w
SOPRANO

Piccolo - 0
1st Flute - 0 w
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
Bells - 0
w

ALTO & w bb bb w
2nd Flute - 0 w
2nd Oboe - 0
Alto Sax - 3
2nd/3rd Trumpet - 2
b b
b b b bw b bb bb b bb bb bw
1st/2nd Horn - 1 Concert Ab Concert Db
& b b
b b b bw
Vibes/Xylophone - 0
bw
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
b bb bb b bw b b b
b b bbbb b b b bb bb
1st Euphonium - 0 Concert Gb Concert Cb
b b bw
Low Xylophone - 0
& b b b b
b b b b b b w b b b bw
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
## # #
# # # # # ### # # ### # # w
& # # # ## ### # ##### # # #w
Tuba - 0
Marimba - 0
# ## ## # w # # ## w
## ##
## # # # # ## w ## ##
Concert D Concert G
& ## ## w # ## ## # w
!
# # w
Circle of Fourths - Bassoon
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5

? 44 w bb bb w
Concert C Concert F
w

SOPRANO
Piccolo - 0 w
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
? b b bb b bw b
b bbbb b bbbb bw
Bells - 0
b b bw
ALTO b b bw
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3
b b b
b b b b b b bb bbb b b bbbb
2nd/3rd Trumpet - 2
? b bw
1st/2nd Horn - 1 b b b b bw b b b b w
Vibes/Xylophone - 0
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
bb b bb
? b bbbbb b b b b b bb bbb bw bbb b bbb
1st Euphonium - 0
Low Xylophone - 0 b b b bw b b b bbbbb b bbbbb b b bw
b bb bb b w
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
## ##
2nd Euphonium - 0
? ## # # # # ## w
Concert E Concert A
## ## #
#
Tuba - 0
Marimba - 0 ## ## w w
# # # #
? # # # # w # # w
Concert D Concert G
#
#
w w
!
Circle of Fourths - Alto/Bari Sax
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5
# #
## ## # w # # # # w
Concert C Concert F
4
&4 #
## ## # # # w
#
SOPRANO
Piccolo - 0 w
Bari Only
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
# #
w
Bells - 0
& w w
ALTO
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3

bb bb w b
1st/2nd Horn - 1
& w b bb b bb bw
Vibes/Xylophone - 0 b bw
Bari Only
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
b
b bb bb b bb bb bw b b b b
b b b b
1st Euphonium - 0
Low Xylophone - 0 & b bw bw
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
2nd Euphonium - 0
# # #
###### # # # ## #### #w
Concert E Concert A
# ## # ### #
# ## #
Tuba - 0
Marimba - 0 & # #### #### # w # #w
# #
# ## # # ## # # w
Concert D Concert G
# ## ## ##
& # # ##

## ##
w ## w
! Bari Only
Circle of Fourths - Tenor Sax
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5
# #
# # # # w # #
Concert C Concert F
SOPRANO 4
& 4 # # w w
Piccolo - 0
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2

w bb bb w
Bells - 0 Concert Bb Concert Eb

ALTO
&
w w
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3
b b b b
b b b bw b bb b b b bb bw
1st/2nd Horn - 1
& b
b b bw
Vibes/Xylophone - 0 b b bw
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
b
b b b b b bb bb b bb b b b bw
1st Euphonium - 0
& b b b bw b b
Low Xylophone - 0 b b b b b b b
bw
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
2nd Euphonium - 0
## # #
Concert E Concert A
Tuba - 0 ## # ### # # # ### # # ### # # w
& # ## # # #w
# # ## w
Marimba - 0
## ##
## # # # # ## w ## ## #
Concert D Concert G
& ## ## w # w
!
Circle of Fourths - Trumpet / Euph TC
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5
# #
Concert C Concert F
SOPRANO & 44 # # # # w # # w
Piccolo - 0 w
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2 Concert Bb Concert Eb
Bells - 0
& w b
b w
ALTO
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3 Concert Ab Concert Db
b b b b
2nd/3rd Trumpet - 2
& b b b b
b b bw
1st/2nd Horn - 1
Vibes/Xylophone - 0 bw
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
b b b
& b b bbb b bbb b bw b b b b b b

1st Euphonium - 0
Low Xylophone - 0 b b b b w b b b b bw
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
# # #
& # # # ## ### # ##### # # #w ### ### ##
Tuba - 0
Marimba - 0
# ## ## # w # # w
## ##
Concert D Concert G
# ## # ## ## # w
& ## # ## w
! # # w
Circle of Fourths - Horn
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5
# #
Concert C Concert F
4
&4
SOPRANO
# # w
Piccolo - 0 w w
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
Bells - 0 Concert Bb Concert Eb

& b b w b b
ALTO
b
b
w b b bw
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3
2nd/3rd Trumpet - 2
b b b
b b b
1st/2nd Horn - 1
& b b b bw b b b b b b b b bw
b b b b
Vibes/Xylophone - 0
b b w
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
1st Euphonium - 0
b b b b b
b b b
& b b b b b b b b b b b b b b b b b bw
Low Xylophone - 0
b b bw
BASS
b bbb bbb b w
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
### ### ## ## ## ##
& ##
Tuba - 0
Marimba - 0 # # w w

## ## # w
Concert D Concert G
& #
## ## # # # #
# w # w
Circle of Fourths - Trombone/Euph/Bassoon
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5

? 44 w bb bb w
Concert C Concert F
SOPRANO
Piccolo - 0
w
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
? b b b b bw b b b
b b b
Bells - 0
bw
ALTO
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3
2nd/3rd Trumpet - 2
b b b b b b
? b b b b b b b b b
b b b bw
1st/2nd Horn - 1
Vibes/Xylophone - 0 bw
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
bb b bb
? b bbbbb b b b b b bb bbb bw b b b b b b b b b
1st Euphonium - 0 Concert Gb Concert Cb
Low Xylophone - 0
b b b bw b b b b b bw
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
2nd Euphonium - 0
# #
? ## ## # # ## ## w
Concert E Concert A
## ## #
#
Tuba - 0
Marimba - 0 ## ## w w
# # # #
? # # # w
Concert D Concert G
# w
w
!
Circle of Fourths - Tuba
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5
Concert C Concert F
? 44
bb bb w
w
SOPRANO
Piccolo - 0 w
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2 Concert Bb Concert Eb
Bells - 0 ? b b b
b b b b b
ALTO
b b bw bw
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3
1st/2nd Horn - 1 ? b b bbb b
b b b b b b b
Vibes/Xylophone - 0
b b bb b b w bw
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
Trombone - 0
? b b b b b
1st Euphonium - 0
Low Xylophone - 0 b b b bb b b b b b bb b b bw b b b bb
bb b bbbbb b
bw
b bb bb b w
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
Tuba - 0 ? # # # #
Marimba - 0 # # # # # # # # w #
## ## #
w
## ## w
Concert D Concert G
?
# # # # #
# w # # w
! w
Circle of Fourths - Mallets
Flats 5 6 7
Sharps
1 2 3 4 Db - Gb - Cb 4 3 2 1
or or or
E-A-D-G-C
C# - F# - B
7 6 5

w bb bb w
Concert C Concert F
4
SOPRANO &4 w w
Piccolo - 0
1st Flute - 0
1st Oboe - 0
1st Clarinet - 2
1st Trumpet - 2
b b b b
b b b bw b bb b b b bb bw
Bells - 0
& b b
ALTO b b bw b bw
2nd Flute - 0
2nd Oboe - 0
Alto Sax - 3
b
b b b b b bb bb b bb b b b bw
2nd/3rd Trumpet - 2
b b
1st/2nd Horn - 1 & b b bb b bb b bw b b b b b b b
bw
Vibes/Xylophone - 0 b b b b w
TENOR
Tenor Sax - 2
3rd/4th Horn - 1
b b b
b b b bb bb b b b bb bb b b bw bb b bb
Trombone - 0 Concert Gb Concert Cb
1st Euphonium - 0
& b b b b b bw b bbbbbb b b b b b bbbbbb bw
Low Xylophone - 0 b bb bb b w
BASS
Bassoon - 0
Bass Clarinet - 2
Bari Sax - 3
## ##
## # # # # ## w ## ##
Tuba - 0 & ## ## w # ## ## # w
Marimba - 0 # # w
# #
# # # # w # #
Concert D Concert G

& # # w # # w
! w
25
Chromatic Exercises
1 Chromatic Low Chromatic High

b4 # n
C Parts - High & b 4 b b n

C Parts - Low
b4 n # n
&b 4 b b
#
Bb Woodwind
4 b b # #
& 4 # #
b b #
Eb Parts
#4
# #
& 4 n b #
Bb Brass
4
#
& 4
b b # #

F Parts
4
&b 4 # n
b b #
Bass Clef
? b4 # n
b4 b b n
Tuba
? b4
b4
# n
b b n
(play on a mallet instrument - get your chroma on!!)
Rudiment
4
/ 4
26
2 Remington Low
b
Hi-C & b b b
Low-C
b b
&b b
Bb WW & b b
b b
#
Eb n b
&
Bb Brass

&
b b
F &b
b b
BC
?b
b b b
Tba.
?b
b
b b
Perc. /
27
3 Remington High
b
Hi-C & b n b b n

Low-C
b b n
& b n b

Bb WW & # n b #
# n b #
#
Eb

& # n b #
Bb Brass

&
# n b #
F & b #
n b n
BC
?b
b n b b n
Tba.
?b
b
n b b n
Perc. /
28
4 Remington Low 2 Remington High 2
b
Hi-C & b b b n b b n n

Low-C
b n b b n n
& b b b

Bb WW & b b # n b n #
b b # n b n #
#
Eb

& n b # n b n #
Bb Brass

&
b b # n b n #
F

& b b b # n b n n
BC
?b
b b b n b b n n
Tba.
?b
b
b b n b b n n
Perc. /
29
5 Chromatic Scale Up
b # n w
Hi-C & b # # n
w
Low-C
b n # n
&b # #
# w
Bb WW # #
& # # # w
# # # #
#
Eb # # w
& # n # #
Bb Brass

& # # w
# # #
F &b # n w
# # #
BC
?b # n w
b # # n
Tba.
?b
b
# n w
# # n
Perc. /
30
Chromatic Scale Down
b n b b n b
Hi-C & b b b w
Low-C
b n b b n b b
&b b w
b
Bb WW
b b b
& b b b w
b b b w
Eb
# b b
& b n b w
Bb Brass

& b b b b b w
F &b b b b b b w
BC
?b n b b
b n b b b w
Tba.
?b
b n b b n b b b w
Perc. /
31
6 Bb Chromatic Scale w b
b n # # b n b b
Hi-C & b n
#
# # w b b
Low-C
b # n w b n b b
& b n n # # b n b b
n #
# # w b b b
#
Bb WW
# # w b b
& # # # b b b
# #
# n # w n
Eb # # b b b
& # #
Bb Brass
w
& # # # b b b
# # b
w
F n # # b b n b
& b # # b
w b
BC
?b # n # # b n b b
b n
Tba.
?b
b n # # w b b n b
n # b
Perc. /
32
7 Ab Chromatic Scale
b n n #
Hi-C & b n bw bbbb n n
#
Low-C
b n bw bbbb n n n n
&b n #
n bw
# #
Bb WW
b w bb n # n
& n # #
b w n #
#
Eb b n # #
& b w # #
Bb Brass

& bb # #
b w n # n
F bbb n n #
&b b w n #
BC
?b n n #
b n bw bbbb n n
Tba.
?b
b bbbb n #
n bw n n n
Perc. /
33
bb w b n b n b
Hi-C & b b
n b n bw
b
Low-C bbbb w
w n b n b n b n bw
& b
w b b
Bb WW bb w n b b n bw
& b b n b b n bw
w
Eb b b b n b
& b b nw
Bb Brass
b
&b w b b n b b n bw
F
b w b n b
&b b n b b n bw

BC
? bb w b n b n b
bb n b n bw
Tba.
?b
b bb w b n b n b n b n bw
Perc. /
34
B-flat Concert
A Major Scale
b4
C Parts - High & b 4
w

C Parts - Low
b4 w
&b 4
w
Bb Woodwind
4
& 4
w

Eb Parts
#4

& 4 w
Bb Brass
4

& 4 w

F Parts b4
w
& 4

Bass Clef
? bb 44 w
Tuba
? b4
b4
w
- Flam
j j j j j j j j j j j j j j j j
Rudiment
Roll
4
/ 4 w
7777777777777777

R L R L R L R L R L R L R L R L
(Small note is UPSTROKE, big note is DOWNSTROKE) (play like this whenever you see a roll)
35
B Relative Minor Scale
b
Hi-C & b w

Low-C
b
&b w
w
Bb WW &
w
#
Eb
& w
Bb Brass

&
w
F b
& w
BC
?b
b w
Tba.
?b
b
w
- Paradiddle
> > > > > > > >
Perc.

/ w
R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L
36
C Flow Style
b
Hi-C & b

Low-C
b
&b

Bb WW &

#
Eb
&
Bb Brass

&

F b
&
BC
? bb
Tba.
?b
b

- Drag (Ruff)

Perc. /
R R L L sim.
37

b

w
Hi-C & b

Low-C
b

w
&b
w
Bb WW &

w
#
Eb

& w
Bb Brass

&
w

F b
& w

BC

? bb w
Tba.
?b
b
w

Perc. /
38
D Finger Flips, Lip Tricks Finger Flips, Lip Tricks - LV 2
b
Hi-C & b w

Low-C
b

w
&b
w
Bb WW &
w
#
Eb

& w
Bb Brass

& w
w w
F b
& w w w

BC
? bb w w w
Tba.
?b
b w
w w
j j j j j j
Perc. / j j j j j j j j j j j j j j j j j
R R R R L L L L R R R R L L L L R R L R R L R L L R L R R L R L L R L R R L R L L
(Use NATURAL and TAP strokes for this exercise) - Flam Paradiddle
39
Finger Flips, Lip Tricks - LV 3
b
Hi-C & b w

Low-C
b
&b w
w
Bb WW &
w
#
Eb

& w
Bb Brass

&
w
F b
& w
BC
? bb w
Tba.
?b
b
w
j j j j
Perc. / j j j j j j j j j j j
R L R R L R L L R R R L L R R L L R R L L R R L L R R L L R R L L
- Flam Tap
40
b
Hi-C & b w w

Low-C
b w
&b w
w w
Bb WW &
w w
#
Eb

& w w
Bb Brass

&
w w
F b
& w

w

BC
? bb w

w
Tba.
?b
b
w w
> > > > > > > >
j j j j j
Perc.

/
w
R R L L R R L L R R L L R R L L R R L L R R L L R
- Single Drag Tap
41
b
Hi-C & b w

Low-C
b

&b w
w
Bb WW &
w
#
Eb

& w
Bb Brass

&
w
F b
&

w

BC
? bb

w
Tba.
?b
b
w
> > > > > > > > > > > > > > > >
Perc.

/ w
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
- Pataflafla
42
E Twister! - LV 2
b Twister!
Hi-C & b
w

Low-C
b
&b w
w
Bb WW &
w
#
Eb

& w
Bb Brass

&
w
F b w
&
BC
? bb w

Tba.
?b
b
w
- Triple Paradiddle
> > > > > > > >
Perc.

/ w
R L R L R L R R L R L R L R L L R L R L R L R R L R L R L R L L R L R L R L R R L R L R L R L L sim.
- Triple Paradiddle
43
b
Hi-C & b

Low-C bb

&

Bb WW &

Eb
#
&
Bb Brass

&

F b
&
BC
? bb
Tba.
?b
b

> > > > > > > > > >
Perc. /
44
F
b Thirds
Hi-C & b

Low-C
b
&b

Bb WW &

#
Eb

&
Bb Brass

&

F b

&

BC
? bb
Tba.
?b
b

- Flam Tap
> >
j j

Perc. / j j j j j j j j j j j j j j j j
R R L L R R L L
45
G Triplets
b
Hi-C & b
3 3 3 3 3 3 3
3 3 3

Low-C
b
&b
3

3

3

3
3 3 3 3 3
Bb WW &

3 3

3
Eb
#

3 3 3 3 3
&
3
3 3 3 3 3

Bb Brass &

3 3

3 3
3 3
F b

3
&
3

3
BC
? bb

3 3 3 3 3
3
3 3 3 3 3 3 3
Tba.
?b
b

> 3 > 3 > 3 > 3 > 3 > 3 > 3
j j j j

Perc. / j j j j j j j j j j j j j
R L R L R L R L R L R L R L R L R L R L R L
- Flam Accent
46 Chords (pick one) Chords - LV 3
Chords - LV 2
H I IV I V I
w vi ii V
I
w I ii7 V7 III7
b w
w V7
w
w #
Hi-C & b w w
3 3 3 3 3 3 3
3 3 3 I IV I V I vi ii V V7 I I ii7 V7 III7
3
Low-C
b w
w
w
w

#
&b w w
3 3

3
3
I IV I V I vi ii V V7 I I ii7 V7 III7
3 3 3 3 3
Bb WW & w
w w
w
w w #
3

3 w w
# 3 w
w
w
w #
w w
3 3 3 3
Eb &
3
3
3 3 3 3 3
Bb Brass &
w
w w
w #
w
w
3
w w

3 3 I IV I V I vi ii V V7 I I ii7 V7 III7
3 3
F & b 3 3 3

w
w w
w
w w #

3
I vi V I ii7 V7
w V7 w
III7
BC
I IV I V w ii w I
? bb 3
w
w w #

3 3 3 3 3
3 3 3 3 3 3
Tba.
?b 3
b w w
w #

w w

>3 >3 >3 >3 >3 >3 >3 (Play on a mallet instrument for Chords and Specials)
j j j j j j j
Perc. /
sim.
Chords - LV 4 47
vi I IVmaj7 ii7 V7 I9(add6) I Special VII - Soprano
b w
w b w
ww
Hi-C & b
w
w

w
w

vi I IVmaj7 ii7 V7 I9(add6)

b nww
Low-C bbw
w
w
ww
w
& w

Bb WW & w
w b nw
ww
w ww

# w
w b w
nww
w
w

ww
Eb &


w
Bb Brass & w nw
ww
w
w

b
w
w
F b w w
ww
& w
w

b nw
ww

vi ii7 V7 I9(add6)
w
BC
w
w
I IVmaj7
b w
nww
w
? bb w
w w
Tba.
?b
b w
w b w
w
w
w w
Perc. /
48
Alto
w w w w w w
b w w w w w w
Hi-C & b w w
w w w w w w
Low-C
b w w w w w w w
&b w w w w w w w
w w
Bb WW & w w w w w w
w w w w w w
w w
# w w w
Eb
w w w w w w w
& w w
w w
Bb Brass
w
& w w w w w w w
w w w w
w
F w w w w w w
b
w w w w w w
& w w w w w
w w w
BC
w w w w w
? bb w w w w
Tba.
?b
b w w w w w w
w w w w w w
Perc. /
49
Tenor
bw w w w
Hi-C & b w

Low-C
bw w w w w
&b w w w
w w

Bb WW
& w w w
w w
Eb
# w w w
& w w
Bb Brass

& w w
w w w

F b w w w w
& w w

BC
w w
? bb w w w

Tba.
?b
b w
w w w w

Perc. /
50
Bass
b w
Hi-C & b w
Low-C
b w
&b w

Bb WW

& w
w
w
Eb
# w
& w
Bb Brass

& w
w
w
F b w
& w

BC
w
? bb w
w
Tba.
?b
b w
w
w
Perc. /
51

Hi-C
b w
&b

Low-C
b w
&b

Bb WW
w
&
w
Eb
#
& w
Bb Brass

&
w
F b
& w

BC

? bb w

Tba.
?b
b
w

Perc. /
52
A-flat Concert
A Major Scale
b b4
C Parts - High & b b 4
w

C Parts - Low
b b4

w
&b b 4
w
Bb Woodwind
b 4
&b 4

w

Eb Parts b 4
& 4 w
Bb Brass
b 4
&b 4

w
F Parts bb 4
&
b4 w

Bass Clef
? bb b 44
b
w
Tuba
? bb b 44
b

- Flam
w
j j j j j j Roll
Rudiment

/
44 j j j j j j j j j j w
7777777777777777

53
bb
Hi-C & b b w

Low-C
bb
&b b w

w
Bb WW
b
&b
w
Eb b
& w
Bb Brass
b
&b
w
F
b

& b b w
BC
? bb
bb w
Tba.
? bb
bb

w
- Paradiddle
> > > > > > > >
Perc.

/ w
54
C Flow Style
bb

Hi-C & b b
Low-C
b
& b bb

Bb WW
b
&b

Eb b
&
Bb Brass
b
&b

F
b
& b b
BC
? bb
bb
Tba.
? bb b
b

- Drag (Ruff)

Perc. /
R R L L sim.
55
bb
Hi-C & b b
w

Low-C
bb w
&b b

w
Bb WW
b
&b
w

Eb b
& w
Bb Brass
b
&b

w
F bb
& b
w

BC
? bb
bb w
Tba.
? bb
bb

w

Perc. /
56
D Finger Flips, Lip Tricks Finger Flips, Lip Tricks - LV 2
bb
Hi-C & b b w
Low-C
bb w
&b b
w
Bb WW
b
&b
w
Eb b
& w
Bb Brass
b
&b w
w w
F bb
& b w w w
BC
? bb
bb w w
w
Tba.
? bb
bb
w
w w
j j j j j j
Perc. / j j j j j j j j j j j j j j j j j
R R R R L L L L R R R R L L L L R R L R R L R L L R L R R L R L L R L R R L R L L
(Use NATURAL and TAP strokes for this exercise) - Flam Paradiddle
57
bb
Hi-C & b b w
Low-C
bb
&b b w
w
Bb WW
b
&b
w
Eb b
& w
Bb Brass
b
&b
w
F bb
& b w
BC
? bb
bb
w
Tba.
? bb
bb

w
j j j j
Perc. / j j j j j j j j j j j
R L R R L R L L R R R L L R R L L R R L L R R L L R R L L R R L L
- Flam Tap
58
bb
Hi-C & b b w w

Low-C
bb w
&b b w
w w
Bb WW
b
&b

w w
Eb b

& w w
Bb Brass
b
&b
w w
F bb
& b w w

BC
? bb
bb
w w
Tba.
? bb
bb

w w
> > > > > > > >
j j j j j
Perc.

/
w
R R L L R R L L R R L L R R L L R R L L R R L L R
- Single Drag Tap
59
bb
Hi-C & b b w

Low-C bbbb w
&
w
Bb WW
b
&b
w
Eb b
& w
Bb Brass
b
&b
w
F bb
& b w

BC
? bb
bb
w
Tba.
? bb
bb

w
> > > > > > > > > > > > > > > >
Perc.

/ w
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
- Pataflafla
60
E Twister! - LV 2
b b Twister!
Hi-C & b b
w

Low-C
bb
&b b w
w
Bb WW
b
&b
w
Eb b
& w
Bb Brass
b
&b
w
F bb
& b w
BC
? bb
bb w
Tba.
? bb
bb

w
- Triple Paradiddle
> > > > > > > >
Perc.

/ w
R L R L R L R R L R L R L RL L R L R L R L R R L R L R L R L L R L R L R L R R L R L R L R L L sim.
- Triple Paradiddle
61
bb
b
Hi-C & b
Low-C bbbb
&

Bb WW
b
&b

Eb b
&
Bb Brass
b
&b

F bb
& b
BC
? bb
bb
Tba.
? bb
bb

> > > > > > > > > >
Perc. /
62
F Thirds
bb
Hi-C & b b

Low-C bbbb
&

Bb WW
b

&b

Eb

&b
Bb Brass
b
&b

F bb

& b

BC
? bb
bb
Tba.
? bb
bb

- Flam Tap
> >
j j

Perc. / j j j j j j j j j j j j j j j j
R R L L R R L L
63
G Triplets
bb
Hi-C & b b
3 3 3 3 3 3
3
3 3 3
3
Low-C
bb
&b b

3

3

3

3 3 3 3 3 3
Bb WW
b
&b
3

3 3
Eb &b

3 3 3

3

3
3 3 3 3 3 3
b
Bb Brass & b

3

3 3 3
3 3 3
F bb

3
& b
3 3
BC
? bb
bb

3 3 3

3 3
3 3 3 3 3 3 3
Tba.
? bb
bb

> 3 > 3 > 3 > 3 > 3 > 3 > 3
j j j j j j j j j j j j j j j j j
Perc.

/
R L R L R L R L R L R L R L R L R L R L R L
- Flam Accent
64 Chords (pick one) Chords - LV 3
Chords - LV 2
3
H I IV I V I
w vi ii V V7 I
w I ii7 V7 III7
b b w
w w
w
Hi-C & b b w w n
3 3 3 3 3 3
3 3 3
Low-C
b b
3 3
w
w w
w n
&b b
w
w
3 3

3
3 3 3 3 3 3
Bb WW
b w w
&b

w
w

w
w

#
3 3 w w
Eb b 3 w
w
w
w #
w w
3 3

3
&
3
3
b 3 3 3 3 3 3
Bb Brass & b w
w w
w #

w
w

w
w

3 3 3 I IV I V I vi ii V V7 I I ii7 V7 III7
3 3 3
bb 3
F & b w w

w
w

w
w

n

3
3 w w
BC
w w
? b b 3
bb w
w w n
3 3

3 3
3 3 3 3 3 3
Tba.
? bb 3
b b
w w
w n

w w

>3 >3 >3 >3 >3 >3 >3 (Play on a mallet instrument for Chords and Specials)
j j j j j j j
Perc. /
sim.
Chords - LV 4 65
vi I IVmaj7 ii7 V7 I9(add6) I Special XXXVII - Soprano
bb w
w b w
nww w w w w w w w w w
Hi-C & b b
w
w

w
w w w w

w w w w w w
Low-C
bb w nww w w w w w
w
&b b w
b ww
w w w
Bb WW
b w w
&b ww b nw
w w w w w w w w w
w ww w w w
w w w
Eb b w nw w w w w w w w w
& w
w

b
w
ww w w w

b
Bb Brass & b w
w nw
ww w w w w w w w
w
w b
w
w w w w w w
b w w w w w w w w
F &b b w
w ww w w w w w
w b nw
ww

w
BC
w
? bb w b w
nww w w w w w w w w
bb ww w
w w w w
w
Tba.
? bb
bb ww w w w w w w
w b w w w w w w w
w w w
Perc. /
66
Alto
bb w
Hi-C & b b w w w w w w n b w b n b n
w w b
Low-C
bb w w w w w w n b w b n b n
&b b w w w b
Bb WW
b
&b w w w w n b w b #
w w w w w n n b
Eb b w w w w n b w b #
& w w w w w w n # n
Bb Brass
b
w w w w w
&b w
w w w n b w b # n n b
F bb w w n b w b #
& b w w w w w w w n n b
w w w
BC
? bb w w w n b
bb w w w w b n b n b
Tba.
? bb
bb w w w w
w w w w n b w b n
w b n b
Perc. /
67
Tenor
bb w nw w n n bw
Hi-C & b b w w
w
Low-C
bb w nw n n bw
&b b w w
Bb WW
b
&b w nw <n> w # n bw
w w 
Eb b w nw <n> <n> w # n bw
w w <n> 
w
& w #
Bb Brass
b
&b w w w #
w w nw <n> n bw
F bb nw w n n bw
& b w w 
w
BC
? bb w w w n
bb w w nw n bw
Tba.
? bb
bb w w
w w nw n n bw
w
Perc. /
68
Bass
b b w n w b n n b
Hi-C & b b b n b n n b
Low-C
b b w n w b n b n b
&b b b n b n n
Bb WW
b
& b w # w # n # # n n # n
b # n # b
Eb b w # w # n # # n # # n
& b # n # n
Bb Brass
b n n # n
# b # n # # b
& b w w
F bb n w n n # n
& b w b n b n # b
b n b n b
BC
n b n b n n
? b b w
bb w
Tba.
? bb
bb b n b n b n b
 w n w n b n
Perc. /
69
J Special LXXXII - Soprano w w w w w
bb w w nw w
Hi-C & b b w b n b n b b w
Low-C
bb w w w w w w
&b b w b n b n b b w nw w
w
Bb WW
b w w w w w
&b # n n b n w w #w w
w b # n n w
b n
w w w w w
Eb &b # n n b n w w #w w
w b # n n b n w
Bb Brass
b w w
&b w b # n n w w #w w w w w
b n w
F bb w w
& b w b n b n w w nw w w w w
b b w
w w w w w w
BC
? bb w b n b n b b w nw w
bb w
Tba.
? bb w
bb w b n w w w w w w
b n b b w w nw
Perc. /
70
Alto
bb w w n w w w w w w w
Hi-C & b b
w w w bw w
Low-C
bb w w bw w
&b b w w n w w w w w w w
w
w w w w w w
Bb WW
b w w bw w
&b w w # w w w w w w w
w w w bw w
w
Eb
w # w w w w w w w
&b w w w bw w
Bb Brass
b w
&b w # w w w w w w w
w w w bw w
F bb w w w w w w
& b w w w bw w
w n w
w

BC
? bb w w n w w w w w w w
bb w w w bw w
Tba.
? bb
bb w w n w w w w w w w
w w w bw w
Perc. /
71
Tenor
bb w nw nw nw bw bw w
Hi-C & b b w w w w w
nw
Low-C
bb w w w w nw nw bw bw w
&b b w w
#w nw nw
Bb WW bb w w w w nw bw w
& w w nw #w nw nw bw
w w w w w w
w
Eb b nw #w nw nw bw
w w w w w w
& w
#w nw nw
Bb Brass
b
w w w nw bw w
&b w w nw #w nw nw bw
w w w w w w
w
F bb w nw nw nw bw bw w
& b w w w w w
w nw nw nw bw bw w
w w
BC
? bb w w nw nw nw bw bw
bb w w w w w w
w
Tba.
? bb w nw nw nw bw bw w
bb w w w w nw
w w w nw nw bw bw w
w w w
Perc. /
72
Bass
bb n b
Hi-C & b b w w w w

Low-C
bb w n b
&b b w w w

Bb WW
b w n b
&b w w w n b
w w w
w

Eb &b w n b
w w w
Bb Brass
b w
&b w w w
w n b
w w w
F bb n b
& b w w w w
w
BC
? bb w w w n b
bb w w w
w
Tba.
? bb
bb w w w w
w n b
w w w
Perc. /
73

bb n b
Hi-C & b b n w

Low-C
bb n n b
&b b w

# n
Bb WW
b n
&b # n w
n
w

Eb &b # n
# w
Bb Brass
b
&b # n w
n w
F bb w
& b n n b w

BC
? bb n b w
bb n w
Tba.
? bb
bb w
n b
n w
Perc. /
74
C Concert
A Major Scale
w
C Parts - High &
44

C Parts - Low
w
&
44

w
Bb Woodwind
# 4

&#4 w

### 4
w
Eb Parts & 4
Bb Brass
## 4

& 4 w

F Parts
# 4

& 4 w

Bass Clef
? 44 w
Tuba
? 44

w
- Flam
j j j j j j j j j j j Roll
Rudiment

/
44 j j j j j w
7777777777777777

75

Hi-C & w

Low-C
& w
w
#
Bb WW
w
&#
w

Eb
###
& w
Bb Brass
##
&
w
#
F
& w

BC
?
w
Tba.
?

w
- Paradiddle
> > > > > > > >
Perc.

/ w
76
C Flow Style

Hi-C &

Low-C

&

#
Bb WW
&#

Eb
###

&
Bb Brass
##
&

#
F
&
BC
?

Tba.
?

- Drag (Ruff)

Perc. /
R R L L sim.
77

w
Hi-C &

Low-C

w
&
w
#
Bb WW
&#
w

Eb
###
& w
Bb Brass
##
&

w
#
F

& w

BC
?
w
Tba.
?

w

Perc. /
78
D Springboard and Bungee

Hi-C &

Low-C &

#
Bb WW
&#

Eb
###

&
Bb Brass
##
&

#
F

&

BC
?

Tba.
?

- Drag (Ruff)

Perc. /
R R L L sim.
79
Springboard and Bungee - LV 2

Hi-C &

Low-C

&

#
Bb WW

& #
###
Eb &
Bb Brass
##
&

#
F

&

BC
?

Tba.
?

j j j j j j j

Perc. / j j j j j j j
R R L L sim.
- Flam Tap
80
E C Concentration - UP (LV 2 - Combine with DOWN)

J J
Hi-C &
J
J
j j
Low-C &
J J
j
Bb WW
#
&# j
j

J
j
Eb
### J
& J J
j
Bb Brass
##
& j j J

#
F
j J
& J J
j
BC
? J
J J
Tba.
? j j j
j

j j j j j

Perc. / j
81
C Concentraion
DOWN
-

Hi-C &
J J J

Low-C &
J J J
#
Bb WW
j
& # J J

Eb
### J

& J J
Bb Brass
##
& J
j

J
#
F

J J
& J

BC
? J

J J
j
Tba.
? j
j

> > j j j
Perc. /
RLRRLRLL
82
F Twister!
w
Hi-C & J
j
Low-C & w
w
Bb WW
#
& # j
w
###
w
Eb &
J
Bb Brass
##
& j
w

F
# j

& w

BC

? w
J
Tba.
?
j
w
j > > > > > >
Perc.

/ w
RLRRLRLL R L R L R L R R L R L R L R L L R L R L R L R R L R L R L R L L
- Triple Paradiddle
83
Twister! - LV 2

Hi-C &

Low-C &

#
Bb WW

&#
Eb

###

&
Bb Brass
##
&
#
F

&
BC

?

Tba.
?

- Triple Paradiddle
> > > > > > > > > >
Perc. /
R L R L R L R R L R L R L R L L sim.
84
G Thirds

Hi-C &

Low-C

&

#
Bb WW &#

Eb
###
&
Bb Brass
##
&

F
#
&

BC
?

Tba.
?

- Flam Tap
> > > > > >
j
R R L L R R L L
85

Hi-C &

Low-C
&

#
Bb WW

&#

Eb
###
&
Bb Brass
##
&

#
F

&

BC
?

Tba.
?

j j

Perc. / j j j j j j j j j j j j j j j j j j
86 Chords (pick one)
H Triplets I I IV I V I
w

w
w
w
Hi-C &
3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 I IV I V I

Low-C
w
w
& w
33 3

3 3

3 3 3 3
3 3
I IV I V I
# 3 3 3 3 3
Bb WW &# 3 3 w
w
w
3

3 3 3 3

3
I IV I V I
w
###

w
w
3 3 3 3 3 3 3 3 3

3 3
Eb &
3 3
3 3
I IV I V I
3 3 3 3 3 3 3
##
Bb Brass & w
w
w
3

w
3 3 3 3

3 3 I IV I V I
3 3 3
#
F
3 3

w
w
3
w
3
&
3 3

3 3 3
3
I
w
BC
I IV I V w
? w
w

3 3 3 3 3 3 3 3 3 3 3
3 3
3
I IV I V I
3 3 3 3 3 3 3 3 3 3 3 3 3
Tba.
?
w
w
>3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 (Play on a mallet instrument for Chords and Specia
j j j j j j j j
Perc. / j j j j j j
RLR LRL RLR LRL RLR LRL RLRL sim.
- Flam Accent
Chords - LV 3 Chords - LV 4 87
Chords - LV 2
vi ii V I
w I ii7 V7 III7 vi
w I IVmaj7 ii7 V7 I9(add6) J Special XII - Soprano

V7 w
w w
w nww w b
Hi-C &
w # w b ww
w #w
vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

w
Low-C
w w
w
w b
w
nww
w w #w b
& w
w #
w #w b
w n
Bb WW
# w w
w nww #w
& # w
w

# w

b
ww
w w #w n
### w
w w
w n #ww
ww w #w n
Eb & w

#
w

w

##
Bb Brass & w
w # w
w b nw
w
w
w

w
w

ww
w w #w n
F &
# w w w
ww w #w b
w
w

# w
w

b nw
ww
vi V I ii7 V7 vi I9(add6)
ii w w
w bii7
V7 w
BC
V7 w I #III7 I IVmaj7 nww
? w w
w w
w w #w b
w
Tba.
? w w w
w #
w
w
b w w #w b
w w w
Perc. /
88
Alto
# n
Hi-C & # w
w w w
# n
Low-C
w w w
& # n
# w
w w
# n
Bb WW
# w
&# # n # w
w w
# w w
Eb &
###
# n w
# w
w w
Bb Brass
##
& # n # w
w
w w
#
F # n
& # w
w w w
w
BC
? # n # w
w w
Tba.
?
# n # w
w w
w
Perc. /
89
Tenor
w w #w #w w nw nw w w
Hi-C &
w w w w w w w b
#w #w w nw nw
Low-C
w w w w w w w w w w w w b
& w w #w #w nw nw w w
w w w w
w #w #w w nw nw w
Bb WW
# w w w w w w w w w w n
&# w w w #w #w nw nw w w w w w w w w n
w
Eb
### w w #w #w nw nw w w
& w w w w w w w n
Bb Brass
##
w #w #w w nw nw w
& w w w w w w w w w n
#
F w #w #w w nw nw w
& w w w w w w w w w n
w
BC
? w w #w #w nw nw w w
w w w w w w w b
Tba.
?
w w #w #w w nw nw w w
w w w w w w w b
Perc. /
90
Bass
# # w
Hi-C & n

Low-C n # # w
&
#
Bb WW
# #
w

#
& # ## #
w

Eb
###
& # # # w

Bb Brass
##
&
# # #
w
#
F # # w
& #

BC
? #
n #
w
Tba.
?
#
n #
w
Perc. /
91
Hi-C
#
& # n # # #
Low-C # #
& # n # #
#
Bb WW # #
& # # n # #
# # #
# n #
Eb
### n # #
& # n # #
# n #
Bb Brass
##
# #
& # n # #
#
F #
& # n # # #
# #
BC
? # n # #
Tba.
? #
# n # # #

Perc. /
92
Hi-C
n
& w

Low-C & n w

#
Bb WW
n w
& # n
w

Eb
###
n w
&
Bb Brass
##
& n

w
#
F n
& w

n
BC
?
w
Tba.
? n

w
Perc. /
93
E-flat Concert
A Major Scale
b4 w
C Parts - High & b b 4
C Parts - Low
b4
& b b4 w

Bb Woodwind
4
&b 4 w

w
44

Eb Parts &
w

Bb Brass

& b 44 w
F Parts bb4
& 4
w

Bass Clef
? bb 44 w
b
Tuba
? bb 44
b w
- Flam
j j j j j j j j j j j j Roll
Rudiment

/
44 j j j j w
7777777777777777

94
b w
Hi-C & b b
Low-C
b
&b b
w

Bb WW
w
&b w

Eb
& w
Bb Brass

&b w
F
b
& b
w

BC
?b w
bb
Tba.
?b
bb
w
- Paradiddle
> > > > > > > >
Perc.

/ w
95
C Flow Style
b
Hi-C & b b
Low-C
b
&b b
Bb WW &b

Eb

&

Bb Brass

&b
F
b
& b

BC
?b
bb
Tba.
? bb
b
- Drag (Ruff)

Perc. /
R R L L sim.
96

b w
Hi-C & b b
Low-C
b
&b b
w

Bb WW
&b w

Eb

w

& w

Bb Brass

&b
w
F bb
& w

BC
?b w
bb
Tba.
?b
bb
w

Perc. /
97

b
b
Hi-C & b
Low-C
b
&b b

Bb WW

&b

Eb

&

Bb Brass

&b
F bb
&

BC
?b
bb
Tba.
?b
bb

- Drag (Ruff)

Perc. /
R R L L sim.
98
b
Hi-C & b b
Low-C
b
&b b

Bb WW

&b

Eb

&

Bb Brass
b
&
F
b
& b

BC
? bb
b
Tba.
?b
bb
j j j j j j j

R R L L sim.
- Flam Tap
99
E Eb Concentration - UP (LV 2 - Combine with DOWN)
b J J J
Hi-C & b b J
Low-C
b j j
&b b J
J
j
Bb WW
j
&b J
J
j j
Eb

& J J
j
Bb Brass
j
&b J

J
j
F bb j j
& j

BC
?b J J J
bb J
Tba.
?b j j j
bb J

j j j j j

Perc. / j
100

EbConcentraion -DOWN

b J
Hi-C & b b J J
Low-C
b j
&b b J J

Bb WW

&b J J
J

Eb

& J J J

Bb Brass

&b J J
J
F bb j j
& J

BC
? b J
bb J J
Tba.
?b j
bb J
j

> > j j j
Perc. /
RLRRLRLL
101
F Twister!
b w
Hi-C & b b J
Low-C
b j
&b b w

Bb WW

&b j w

Eb

j

& w
w

Bb Brass

&b j w
F bb
& j w

BC
?b w
bb J
Tba.
? b
bb j
w
j > > > > > >

Perc.

/ w
- Triple Paradiddle
102
Twister! - LV 2
b
Hi-C & b b
Low-C
b
&b b
Bb WW

&b

Eb

&
Bb Brass

&b
F bb
&

BC

?b
bb
Tba.
?b
bb

- Triple Paradiddle
> > > > > > > > > >
Perc. /
103
G Thirds
b
Hi-C & b b
Low-C
b
&b b
Bb WW

&b

Eb

&
Bb Brass

&b
F bb
&

BC

?b
bb
Tba.
?b
bb

- Flam Tap
> > > > > >
j
R R L L R R L L
104

b
Hi-C & b b

Low-C
b
&b b

Bb WW

&b

Eb

&

Bb Brass

&b
F & bb

BC
?b
bb
Tba.
?b
bb

j j

Chords (pick one) 105
w

b w
w
w
Hi-C & b b

3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
I IV I V I
3 3 3 w
Low-C
w
& bbb 3
3 3 w
3 3 3

3 3 3 3
3
I IV I V I
3 3 3 w
Bb WW &b 3

w
w

3 3 3 3 3

3 3 3 3
3 3 3 3 3 I IV I V I

w
Eb

w
w

3
&
3 3

3 3

3 3 3 3
3 3
I IV I V I
3 3 3 w
Bb Brass & b w
w
w
3 3 3 3 3

3 3 3 3
3 3
I IV I V I
3 3 3 3 3 3 3 3 3 3 3
b w
F &b w

w
3

I IV I V I

BC
? b

ww
ww
bb
3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3
I IV I V I
3 3 3 3 3 3 3 3 3
Tba.
?b
b b w
3 3 3
w
>3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 (Play on a mallet instrument for Chords and Specia
j
- Flam Accent
106 Chords - LV 2 Chords - LV 3 Chords - LV 4
vi ii V V7 I
w I ii7 V7 III7 vi
w I IVmaj7 ii7 V7 I9(add6) J Special XIX - Soprano
w
w w
w b n ww
b w n w ww
w
Hi-C & b b
vi ii V V7 I I ii7 V7 vi I IVmaj7 ii7 V7 I9(add6)

III7 w w
w
Low-C bbb

w
w

n w
w

b nww
w
& w

vi V I I ii7 V7 vi I IVmaj7 ii7 V7 I9(add6)
w w w
Bb WW
ii V7 III7 w nw
&b w
w

# w

b ww
w

w w b nww
Eb

w
w # w
w ww
w

&

w
w w
w w
nww
Bb Brass & b

w
w

#
w
w

b w
w

F &b
b w w
w
ww
nw
w
w

# w

b ww

w w b nww
BC
? b
w
w n
w
w ww
w
bb w
Tba.
?b w
bb w n w b
w
w w w
Perc. /
107
Alto
b w # w w
Hi-C & b b
w w w
w
w w
Low-C
# w
bbb w w w w
& # w w w
w w
Bb WW & b w w w w
# w w w w w
w
Eb
w
# w w w
& w w
Bb Brass
w
& b # w w
w w w w
F bb w w w w
& # w w w
w
BC
? b # w w
bb w w w w
Tba.
?b
b b w w
# w w w w w
Perc. /
108
Tenor
b w w
w w w
Hi-C & b b w w w w w w
w
Low-C
b w w
w w w w w w w
&b b w
Bb WW
w w w w w w w
& b w w
w w w w w w w
w w
Eb w w
w w w w w w w
& w w
Bb Brass

&b w w
w w w
w w w w w w
F bb w w
w w w
& w w w w w w
BC
?b w w
w w w
bb w w w w w w
Tba.
?b
bb w
w w
w w w w w w
w w
Perc. /
109
b w w w n b n w n w w w
Hi-C & b b

w n b n w n w
Low-C
b w w w n b w w w
&b b n n w w w
Bb WW &b w w n b n w n w
w w w
w # n w
Eb
w w # # w w w
&
Bb Brass
w
&b w w w n b n n w w w

F bb w w w w
& w n b n w n w
w n b w
BC
?b w w n n w w w
bb
Tba.
?b
bb w n b n w n w
w w w w
Perc. /
110
Bass
b
w w w w w w w
Hi-C & b b
w w w w w w w w
Low-C
b w w w w w w w w w
&b b w w w w w w
w
Bb WW w w w w w w w w
&b w w w w w w w w w
w w w w w w w w
w w w w
w w
Eb
w w w w w w w w w
w w w w w w w w
& w w w w
w
Bb Brass

w w w w w w w w
&b w w w w w w
F bb w w w w w w w
& w w w w w w w w
w w w w w w w
w w
BC
?b w w w w w w
bb
Tba.
?b w w w w w
bb w w w w w w w w
w w w w w w w w w
w w w w w w w w
Perc. /
111
F Concert

A Major Scale
w
4
b
C Parts - High & 4 w

C Parts - Low
4
&b 4 w

Bb Woodwind
#4

& 4 w

w

## 4 w

Eb Parts & 4
w

Bb Brass
#4

& 4 w
F Parts
4
& 4 w

Bass Clef
? b 44 w
Tuba
? b 44
w
- Flam
j j j j j j j j j j j j j j j Roll
Rudiment

4j
/ 4 w
7777777777777777

112
w
Hi-C & b

w
Low-C
&b w
#
Bb WW
& w
#
Eb
w
&#
Bb Brass
#

& w
F
&
w

BC
? w
b
Tba.
?
b
w
- Paradiddle
> > > > > > > >
Perc.

/ w
113
C Flow Style

Hi-C & b
Low-C &b
#
Bb WW
&

#
Eb

&#

Bb Brass
#
&
F
&

BC
?
b
Tba.
?
b
- Drag (Ruff)

Perc. /
R R L L sim.
114

w
Hi-C & b
w

Low-C
&b w
#
Bb WW

& w

w

#
Eb
w
&#
w

Bb Brass
#
& w
F
&
w

BC
? w
b
Tba.
?
b
w

Perc. /
115

Hi-C & b

Low-C

&b
#
Bb WW

&

#
Eb

&#

Bb Brass
#

&
F
&

BC
?
b
Tba.
?
b
- Drag (Ruff)

Perc. /
R R L L sim.
116

Hi-C & b

Low-C

&b
#
Bb WW

&

##
Eb &

Bb Brass
#

&
F
&

BC
?b
Tba.
?b

j j j j j j j

R R L L sim.
- Flam Tap
117
E F Concentration - UP (LV 2 - Combine with DOWN)

Hi-C & b J J J J
j
Low-C
j
&b J J
# j j
Bb WW
j
&
J
j
Eb &
##
J J J

Bb Brass
# j
& J J J
F
j j
j

&
J

BC
? J J J
b J
j
Tba.
? j j
b
J
j j j j j

Perc. / j
118
F Concentraion
- DOWN

Hi-C & b J J
J

Low-C

&b J J
J
# j j
Bb WW &
J

##

Eb &
J J J

Bb Brass
# J

& J J
F j j
& J

BC
? J J J
b
Tba.
? j
b J J
> > j j j
Perc. /
RLRRLRLL
119
F Twister!

Hi-C & b w
J w

Low-C

&b j w
# j
Bb WW & w

w

## j
w
Eb & w

Bb Brass
# j

& w
F

& j w

BC
? w
b J
Tba.
?
b j w
j > > > > > >

Perc.

/
w
- Triple Paradiddle
120
Twister! - LV 2

Hi-C & b
Low-C

&b
#
Bb WW

&

##
Eb &

Bb Brass
#
&
F
&

BC

?
b
Tba.
?
b
- Triple Paradiddle
> > > > > > > > > >
Perc. /
121
G Thirds

Hi-C & b

Low-C

&b
Bb WW
#

&

##

Eb &

Bb Brass
#

&
F
&

BC
?
b
Tba.
?
b
- Flam Tap
> > > > > >
j
R R L L R R L L
122

Hi-C & b

Low-C

&b

Bb WW
#
&

##

Eb &
#
Bb Brass &

F
&

BC
?
b
Tba.
?
b

j j

Chords (pick one) 123
H Triplets
I I IV I
w
I V w
w
Hi-C & b

3 3 3 3 3

3 3 3 3 3 3 3 3 3
3
I IV I V I
3 3 3 w
w
Low-C b 3

w
&
3 3 3 3 3

3 3 3 3
3 3 3 3 3 3 I
3 3 3 3 3
# I IV I V w
w
Bb WW &
w

3 3 3

3 3 I IV I

I V w
w
##

3
w
3

3 3
Eb &
3 3

3 3 3 3 3 3
3
I IV I V I
# 3 w
Bb Brass & 3

w
w
w

3 3 3 3 3 3 3 3 3
3 3
3 3
I IV I V I
3 3 3 3 3 3 3 3 3
F
w
w
w
3
&
3 3

I
I IV w
BC
?

I V w
ww
b
3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3
I IV I V I
3 3 3 3 3 3
Tba.
? 3 w
3
b w
3 3 3 3

>3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 (Play on a mallet instrument for Chords and Speci
j
- Flam Accent
124 Chords - LV 2 Chords - LV 3 Chords - LV 4
w
w w
w b w
w
J Special LXXXVII - Soprano
w

# w ww
w
Hi-C & b

w w w
Low-C
w nww
b
& w
w

# w

b ww
vi ii V I ii7 V7 vi V7 I9(add6)
V7 w
III7 w w
Bb WW
# w I w bii7
I IVmaj7 nw
ww
& w # w w
w
w # w
w b nww
## w w ww
w
Eb &

# w
w w
w b w
nww
Bb Brass & w
w # w
w w
w
F
w w w
& w
w

# w
w

b nww
ww


w
w w
w nww
BC
b ww
? w # w
w w
b
Tba.
? w w b w
b w # w
w

w

Perc. /
125
Alto
w w
Hi-C & b w w
w
Low-C w w w
&b w w w w
w
# w
Bb WW w w
& w w w w
#
Eb
w w
&# w w
Bb Brass
#
& w w
w w

F w w
w w
& w w w w

BC
? w w
b w w
Tba.
?
b w w w w
Perc. /
126

Hi-C

&b n b

Low-C
n b
&b
#
Bb WW # n
&
# n

Eb
##
& # n

Bb Brass
#
&
# n

F
& # n

BC
?
b n b

Tba.
?
b
n b

Perc. /
127
Tenor

Hi-C & b n n w # w
Low-C &b n n w #
w
Bb WW
#
# # w #
& # # w
w # w
Eb &
##
# # w
w # w
Bb Brass
#
& # w
# # w

F # #
& w # w
BC
? # w
b n n
w
Tba.
?
b w #
n n w
w
Perc. /
128
Bass
w w
Hi-C & b
w w w w
w
Low-C w w w w
&b w w
w
#
Bb WW w w w w
& w w w
w w w w w
w
Eb
## w
& w w w w w

w w
Bb Brass
#
w w w w
& w w w w
w w w w
w
F w w w
& w w w
w
w w w w
BC
? w w w
b w w w w w
w
Tba.
? w w
b w w w w
w w w w
w w w
Perc. /
129
w
Hi-C
w w w w w
&b w w w
w
Low-C
w w w w w w
&b w w
# w w w
Bb WW
w w w w
& w w w w w w
w w w w w
Eb &
## w w w w w w
w w w
w w
Bb Brass
# w w w w w
& w w w w w w
w w w w w
F w w w w w
& w w w w
w w w w w w w
BC
? w w w w w
b w w w w w w
Tba.
? w w w w
b w w w w w w
w w w w w w w w
Perc. /
130
D-flat Concert
A Major Scale
bb4
w
C Parts - High & b b b 4

C Parts - Low
bb4

w
& b b b4
w
Bb Woodwind
b 4
&b b 4 w

b 4
4

w
Eb Parts & b

w
Bb Brass
b 4
&b b 4 w
F Parts bbb4
&
b 4

w

Bass Clef
? bb b 44 w
bb
Tuba
? bb b 44
bb
w
- Flam
j j j j j Roll
Rudiment

/
44 j j j j j j j j j j j w
7777777777777777

131
bb
Hi-C & b b b w

Low-C
bb w
&b b b
w

Bb WW
b w
& b b w

Eb bb
& w
Bb Brass
b

&b b w
F
bb
& b b
w

BC
? bb
bbb w
Tba.
? bb
bbb
w
- Paradiddle
> > > > > > > >
Perc.

/ w
132
C Flow Style
bb
Hi-C & b b b

Low-C
b
& b bbb
Bb WW
b
&b b

Eb
b
&b

Bb Brass
b
&b b
F
bb
& b b

BC
? bb
bbb
Tba.
? bb b
bb
- Drag (Ruff)

Perc. /
R R L L sim.
133

bb w
Hi-C & b b b

Low-C
bb w
&b b b
w
Bb WW
b
&b b
w

Eb
b w
&b
w
Bb Brass
b

&b b
w
F bb b
& b
w

BC
? bb
w
bbb
Tba.
? bb
bbb
w

Perc. /
134
bb
Hi-C & b b b

Low-C
bb
&b b b
Bb WW
b
&b b

Eb
b
&b

Bb Brass
b

&b b
F bb b
& b

BC

? bb
bbb
Tba.
? bb
bbb

- Drag (Ruff)

Perc. /
R R L L sim.
135
bb
Hi-C & b b b

Low-C
b b
&b b b
Bb WW
b
&b b
b

Eb & b

Bb Brass
bb
& b
F
bb

& b b

BC

? bb b
bb
Tba.
? bb
bbb

j j j j j j j

R R L L sim.
- Flam Tap
136
E Db Concentration - UP (LV 2 - Combine with DOWN)
bb J J J
Hi-C & b b b J
j
Low-C
b b
&b b b J J J
Bb WW
b j j
&b b J
J
j j
Eb
b
&b
J
J
Bb Brass
b j j
&b b J
J
F bb b
j j j
j
& b

BC
? bb J
bbb J J
J
Tba.
? bb j j
j
bbb j

j j j j j

Perc. / j
137
- DOWN
DbConcentraion

bb J
Hi-C & b b b J J

Low-C
b b
&b b b J J
J
Bb WW
b j
&b b J J
j
Eb
b
&b J

J
Bb Brass
b j
&b b J J
j
F bb b j
& b j

BC

? bb J J
bbb J
Tba.
? bb
bbb J
j j

> > j j j
Perc. /
RLRRLRLL
138
F Twister!
bb w
Hi-C & b b b J

Low-C
b b j
w
&b b b w
Bb WW
b
&b b j w
j
Eb
b
&b
w
w
Bb Brass
b

&b b j
w
F bb b
& b j
w

BC

? bb w
bbb J
Tba.
? b b
bbb j
w
j > > > > > >
Perc.

/ w
RLRRLRLL R L R L R L R R L R L R L R L L R L R L R L RR L R L R L R L L
- Triple Paradiddle
139
Twister! - LV 2
bb
Hi-C & b b b

Low-C
b b

&b b b
Bb WW
b
&b b

Eb
b

&b

Bb Brass
b
&b b
F bb b
& b

BC

? bb
bbb
Tba.
? bb
bbb

- Triple Paradiddle
> > > > > > > > > >
Perc. /
140
G Thirds
bb
Hi-C & b b b

Low-C
b b
&b b b
Bb WW
b
&b b

Eb
b
&b

Bb Brass
b
&b b

F bb b
& b

BC
? bb
bbb
Tba.
? bb
bbb

- Flam Tap
> > > > > >
j
R R L L R R L L
141

bb
Hi-C & b b b

Low-C bbbb
& b

Bb WW
b
&b b

Eb
b
&b

Bb Brass
b

&b b

F bb b
& b

BC
? bb
bbb
Tba.
? bb
bbb

j j

142 Chords (pick one)
w

b b w
w
w
Hi-C & b b b

3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 I IV I V I
3 w
Low-C
b b

w
w
3
&b b b
3 3 3 3

3 3 3 3 3 3
3
I IV I V I
3 3 3 3 3
Bb WW
b 3 w
w
&b b w
3 3 3

3 3 3 3
3 3 3 3 I IV I V I
3
w
Eb
b 3 3
w
w
&b

3 3 3

3 3

3 3
3 3
I IV I V I
3 3 3 3 3
b

w
w
Bb Brass & b b w
3 3 3
w
3 3 3 3
3
I IV I V I
3 3 3 3 3 3 3 3 3 3 3 3 3
bb
F &b b
w
w

w
I IV I V I
BC
w
? b b w
ww
3 3 3 3 3 3 3 3 3 3 3
bbb
3 3 3
3 3
I IV I V I
3 3 3 3 3 3 3 3 3 3 3
Tba.
? bb

bbb w
3

w
>3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 (Play on a mallet instrument for Chords and Spec
j j j j j j j j
Perc. / j j j j j j
- Flam Accent
Chords - LV 3 Chords - LV 4 143
Chords - LV 2
vi V I
w I ii7 V7 III7 vi
w I IVmaj7 ii7 V7 I9(add6) J Special LV - Soprano

V7 w w w w w
b b ii w
w n w
w n b w
ww
w w w w
Hi-C & b b b

w w w w w
Low-C
b b w w wb w
w w w
&b b b

w
w n w n b w w w w
w w
w
Bb WW
b w
w w
w nw
ww w
& b b w n w b w w w w w

w w b nww w
Eb
b w
w # w
w ww
w w w w w
&b


b w
w w
w b nw
ww w
Bb Brass & b b w
w

n
w
w

w
w w w w w

bb ww
F &b b

w
w w
w
nw
ww w
w n w b
w w w w

w w w w
BC
? b b w
w

n w
w

n b w
ww
w w w w w
bbb w
Tba.
? bb
bbb w w
w w w w w
w n
w n b w w w
Perc. /
144
w w w Alto
bb w w w w w w
Hi-C & b b b
w w w w w
w w w w w w w w
Low-C
b b w w w w w w w w w w w
&b b b w w w w w w w
w w

Bb WW
b w w w w w w w w w
&b b w w w w w w w
w w
w w w w w w
Eb
b w w w w w w
&b w w
Bb Brass
b w w w w w w
&b b w w w w w w
w w
F bb b w w w w w w
& b w w w w w w w
w
w w w w w
BC
? bb w w w w w w w
bbb w w
Tba.
? bb w w w
bbb w w w w w
w w w w w
w
Perc. /
145
Tenor w
bb n b w w w w
Hi-C & b b b
b w n w
Low-C
bb n b b w n w
w w w w
&b b b
n b b w w
w n

Bb WW
b n b b w w w
n n w w w w
&b b b b w n w
w
w w w
Eb
b n w w
&b b b w # w
Bb Brass
b
n w w w
&b b b b w n w
w w
F bb b n b b w w
& b w n w w w w
w w
BC
? bb n b b w w w
bbb w n w
Tba.
? bb
bbb n w w w w w
b b w n w
Perc. /
146
Bass
bb n w w
Hi-C & b b b
w
Low-C
b w w
& b bbb n w
Bb WW
b w w
&b b n w w w

Eb bb n w w
& w
Bb Brass
bb
& b n w w
w
F bb b w
& b n w w

BC
? bb b n w w
bb w
Tba.
? bb b
bb n w w
w
Perc. /
147
Hi-C
bb b
& bb n nw w bw w w
w w n
Low-C
b nw w bw w
& b bbb n w w w n
Bb WW
b n nw w bw w w
&b b w w w n w
n nw bw w w w n
Eb bb n #w w nw w w
& w w n
Bb Brass
bb
& b w w w n w
n nw w bw w w n
F bb b w w
& b n nw bw w w w n

BC
? bb b w w w n w
bb n nw w bw w w n
Tba.
? bb b
bb w w w n w
n nw w bw w
w w n
Perc. /

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Max McKee Scott McKee Paul Kassulke

Executive Director Managing Director Director of Operations

Another ABC Presentation

American Band College of

American Band College

Goals, Philosophy, and Routines.........p.8

About Big Rapids

About Big Rapids Public Schools

The Big Rapids Public Schools Band Program

director. However, both

well as an 8th Grade Jazz Band.

Middle School Band Daily Schedule

Middle School Bands Instrumentation, 2010-2011

Class Goals and Teaching Philosophy

Why I Chose This Project

& b b bbb b bbb b bw b b b b b b

1 Chromatic Low Chromatic High

vi I IVmaj7 ii7 V7 I9(add6)

vi I IVmaj7 ii7 V7 I9(add6)

vi I IVmaj7 ii7 V7 I9(add6)

vi I IVmaj7 ii7 V7 I9(add6)

vi I IVmaj7 ii7 V7 I9(add6)

vi I IVmaj7 ii7 V7 I9(add6)

vi I IVmaj7 ii7 V7 I9(add6)

vi I IVmaj7 ii7 V7 I9(add6)

E C Concentration - UP (LV 2 - Combine with DOWN)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

j > > > > > >

vi ii V V7 I I ii7 V7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

j > > > > > >

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

vi ii V V7 I I ii7 V7 III7 vi I IVmaj7 ii7 V7 I9(add6)

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