TEWSBANDMASTERSASSOCLATI[ON

INTERMEDIATE INSTRUC’TION SERIES

CLARINET

TON-I HALE
CLINKMN

5oTH AibmuAL CLINIC

SAN ANTONIO, TEXAS
1997
 FOREWORD
The Texas Bandmasters Association is dedicated to providing its membership with
an annual convention/clinic with the primary purpose of providing an educational
experience. After much success with the past two years of the Beginner Instruction
Series, TBA is sponsoring a new series of clinics on intermediate instructional teach-
ing methods, presented by some of Texas’ premier music educators during the 1997
and 1998 TBA Conventions in San Antonio, Texas. These master teachers, chosen
from the ranks of superior music educators in the State, represent a wide diversity in
geographic location, as well as, in teaching situations.

A session wiIl be presented on six band instruments, each with a companion hand-
out. In each handout, you will find teaching methods, and classroom organizational
skills which are used successfully in today’s schools.

We acknowledge the tremendous efforts of the clinicians who prepared these book-
lets and, who also presented a clinic session. In addition, we acknowledge Jim
Hagood, TBA Past President, and Bob Brandenberger, Immediate Past President,
who provided us with the many benefits of the Beginner Instruction Series and laid
the ground work for this new series of clinics. We also thank the many teachers
from around the State who have shared their “secrets” for this project.

This series is respectfully dedicated to the legions of band directors who have gone
before us and who have built the music education program that is unique in history:
TEXAS’ BANDS.

Mike Olsen, President, Texas Bandmasters Association

TONI HALE
Toni Hale, a native of Henderson, Texas, received a Bachelor of Music Education
degree from the University of North Texas and a Master of Arts with a major in
music education from Stephen F. Austin State University. She has been on the in-
strumental music staff at Henderson ISD as 7th grade band director and woodwind
instructor for grades 6- 12 since January, 1967. Henderson woodwind students have
earned honors at all levels of competition with several of Mrs. Hale’s students being
selected as TSSEC outstanding soloists. Toni and husband Jerry Hale (Band Direc-
tor of Kilgore College) perform in the Kilgore College Orchestra, the annual Con-
certo Program, and with major choral works in the area

L
 For most second year students, this year in intermediate level band will be their first
experience in a daily full ensemble setting. The clarinet players are coming from a separate
clarinet dass or from a general woodwind dass into a setting where your tin% cannot be devoted
exclusively t?r-darinet problems. In some cases, they could be coming from a band.program
where all the insttuments were taught in one beginner class. The goal is to find wys to continue
developing the darinet tone and technique as you also deal with full band needs.

SPECIFIC GOALS FOR THE SECOND YEAR CLARINET PLAYER

I. Learn to recognize the difference between a really good characteristic clarinet tone quality
as compared to a mediocre sound. (Even the custodian can recognize a really POOR
sound!)

2 . Work to develop that gocd tone quality in all registers. (The students need to
be as comfortable in the high register as they are in the low and middle registers.)

3 . Determine that “crossing the break” will be completely mastered so that a

listener will not even detect that there IS a break on clarinet!

4. Become so conscious of intonation that out+f-tune playing will be as

annoying as wrong notes. DO NOT ACCEPT POOR INTONATIONI

5. Develop control of tonguing in various styles of music, so that the tongue

“cleans up” the sound rather than sounding thick and muddy.

6 . Develop finger technique that will be synchronized with the tongue at any
tempo.

ORGANIZATION BEFORE SCHOOL STARTS

1. Make a list of yearly tasks.

a) “Plan, list, do.”
b) Keep your plans from year to year. Revise as needed.

2. Set goals and plan activities for the year.

a) Put all dates on school calendar.
b ) Select special arrangements or new songs to accomplish teaching goals.
(e.g., Find a song that will cause clarinets to improve technique, high
register, low register, etc.)

3. Plan organization of class/rehearsal. expectations, and rules so that students understand

structure from Day 1.
 REVIEW OF BASICS OF CLARINET PLAYING

I. Breathing

Students must be constantly reminded of the importance of AIR in playing any wind instrument.
A good clarinet sound is impossible to achieve without proper breath support The following
breathing exercises and suggestions may be helpful.

EXERClSE ONE

1. Sit erect on the front half of the chair with feet flat on the floor.
2. Keepshoulders and entire body relaxed.
3. Have students put hands on sides just above waist and take a deep breath. They should
feel their waistline expand, but the shoulders should not raise. Remind them to do
everything ‘below the belt”

EXERCISE TWO

1. Stand up and bend over at the waist.

2. Put hands on knees.
3. Take deep breaths, noticing the expansion around the waist.

EXERCISE THREE

1. In the same position as EXERCISE TWO, blow out all the ‘stale” air.
2. Inhale slowly for 4 counts. Hold breath for 4 counts. Exhale (or hiss) for 4 counts.
3. You can vary this exercise by inhaling in fewer counts and controlling the air so you can
exhale in more counts.

EXERCISE FOUR

Have students say the Pledge of Allegiance 3 times in one breath.

(They love doing this one!)

EXERCISE FIVE

Encourage students to do a variation of EXERCISE THREE while walking. Inhale for a certain
number of counts and then blow it out through an embouchure for a certain number of counts.
As they get better at controlling the air, they will be able to inhale in fewer counts and exhale in
more counts.

Other Points to Emphasize:

1. Remind them to blow a fast stream of air and to blow “through” the clarinet (rather than
blowing “into” the clarinet).

2. Throat must be relaxed. If you can tell that they are playing with tension, have them insert two
fingers (index and middle) vertically between teeth and then breathe. Then the throat till be
relaxed.

3. Abdominal muscles must be firm if the air is to move correctly.

4. Think of blowing THROUGH a bull’s eye target across a football field.

 II. EMBOUCHURE

The clarinet embouchure should be firm but hot tight.

I. Top teeth should be on mouthpiece about 3/8 inch down from tip.
2. About half of the lower lip should be turned over the bottom teeth to provide a
cushion on which the reed lies so that the reed may vibrate freely, yet under control.
(If the bottom lip is thicker, turn less than half over the teeth; if the lip is thinner, turn
a little more than half over the teeth.)
3. Comers of lips should be firmly against teeth (as if putting on chapstick or sucking a thick
milkshake through a soda &raw).
4. Chin must be down and pointed. Have students feel their chin and comers with their left
hand as they play open G.
5. The mouthpiece should be placed in the mouth so that the bottom lip touches the reed at the
point where the reed makes contact with the mouthpiece. There must be enough surface of
the reed inside the mouth so that it is allowed to vibrate freely.

Additional note: I describe the embouchure as being “vertical” -not ‘horizontal. We call this
set-up “our clarinet face.’ As a reminder to concentrate on embouchure, I can say, U Fix
your clarinet face,’ and the students know what to do immediately.
I use mirrors on every stand in beginner classes. During the second year, I sometimes
hand a mirror to a student who is having embouchure problems. Most of the time, I would just
use the mirrors in small group settings or when helping individuals. When the entire band is
together, we need to be sensitive about not embarrassing a student.

All facets of the embouchure can be watched during the warm-up portion of every band
rehearsal. I have certain signals to indicate things that need to be corrected so that I don’t have
to stop the rehearsal and call students by name. (Demonstrate)

Ill. TONGUING

1. TIP of the tongue rests lightly on the back top edge of lower teeth when in rest position.
2. The top of the tongue (sliahtly behind the tip) touches the reed slightly below the tip of the
reed.
3. Only a very small front portion of the tongue should move.
4. The student can tongue with “tub” or ‘dub” but not HIT the reed or explode the air.
5. In the higher register, the tongue must change to an ee position, so the tonguing syllable
becomes tee or dee.

Note: I often have clarinet players whisper tongue” to trouble-shoot what the tonguing
problem is. Sometimes they are more comfortable with doing this because everyone
can’t hear them if the tonguing is less than adequate.

See 1” Week Lesson Plans for Tonguing Exercise and method of checking individual tonguing
during band rehearsals.
 IV. HAND POSITION

1. Hands should be relaxed. The student should hold them in a natural position by his side and
men bring them up to the clarinet They will be naturally curved.

2. Hands must be angled upward-not coming into the clarinet horizontally.

3. The left hand thumb should be angled toward 2:00 (Watch this!) NEVER ALLOW THE
STUDE!‘JT TO TOUCH THE WOOD OF ME CLARINET WITH THE LEFT !-!AND
THUMB!!!!!

4. The right hand thumb should be under the thumb rest between the na!! and the first
knuc!de--NEV!ER BEHIND THE KNUCKLE (Watch this!)

5. The left hand is angled so the index finger can comfortably play p spac?e A (l* knuckle) or
2” line G$Ab (2”d knuckle).

-m-s- l* KNUCKLE EXERCISE

_-___ _ __-. ..-- .--..

6. The motion of the index finger playing to 2”4 space A is to ROLL the 1” knuckle upward.
Never allow the students to lift the index finger completely off the top finger hole and then
play A. They will get an open G in between the notes.

7. Little fingers must stay on top of the clarinet at all times. Do not allow students to tuck
them under the lever keys or to prop them on the wood anywhere. THE ONLY PART OF
THE HAND THAT NER TOUCHES THE WOOD OF THE CLARINET WHILE
PLAYING IS THE RIGHT HAND THUMB UNDER THE THUMB REST!

EXAMPLE OF FIRST WEEK LESSON PLAN FOR SECOND YEAR STUDENTS

DAY ONE

1. Long tone on Concert Bb pitch

This gives you a chance to check basics learned from last year. (See preceding
section for Review of Basics) Tel! the band that you will have a contest
tomorrow to see who can hold the note the longest.

2. Play Concert Bb Scale in various r!?ythms:

Ask questions about note values. Some students may have forgotten the most
basic information since last May! Playing the scale will also allow you to work on
precision. USE T!iE METRONOME (amplified so the entire band can hear
easily).

3. Play an EASY song (aiready in folders) as a review from last year--pethaps even
one that the band played on their 6” grade spring concert. It should be one that can
make the band AND the individual players feel successful. 1 like to use something that
moves at a moderate tempo in an easy range for all instruments. Give them something
specific to listen for as they play:
 a) Can they hear other sections?
b) Is the band moving together?
c) Is any section too loud?
d) Is their pitch level the same as the rest of the band?

Etc.. Etc.

4. Play a good recording of a song you will give them the next day.

DAY TWO

I. Long tone on Concert Bb.

Contest (Set metronome on =SO and see who can hold a g&d quality note
the longest.) Give a prize that the student will pick up.at the end of class.

2. Concert Bb scale in various rhythms.

3. Assign notes throughout band to play a Bb chord. This will allow the band to hear a
*pretty sauna and will give them an already assigned note to use on rhythm
patterns. tonguing exercise, etc., when you want to play in harmony.

4. Introduce tonguing exercise and play on concert Bb chord note. Later

I use this exercise on a unison Concert F pitch, but during this first week, I think the
students need to be motivated by hearing a ‘band sound” (harmony). This is a
good time to review the basics of tonguing. (See preceding section on Review of
Basics.)

TONGUING EXERClSE
.I

m3 In3 m3 m3([ 0 1
5. Play from method book to review dotted quarter note rhythm from last
year. Ask questions to see what they remember. Use overhead projector
(or chalkboard) to help review.

6. Play recording of new song (already in folders)-same as yesterday.

Start teaching the song. Be sure to end the class with something that
sounds good. It may be only four measures of the song or even just the
last chord-but ALWAYS end with something positive!!
DAY THREE

1. Long tone on Concert F pitch. insist that students USTEN to the people around
them. “Don’t play any louder or any softer than the person on either side of you.”

2. Do a breathing exercise (See preceding section on Review of Basics).

3. introduce 8-count warm-up.

Group 1 = Low Brass (and low woodwind, if you have them)
Group 2 = Trumpets, French Horns, Saxes
Group 3 = Flute, Oboe, Clarinets
Percussion: Sass Drum plays quarter notes; snare drums play 8” notes.

Gmup 1 plays Bb scale, holding each note 8 counts, ascending and descending
(do notrepeat top note) -
Gmhp‘ 2 begins scale when group 1 plays 9 note
Group 3 begins scale when group 1 is on 5* note and group 2 is on 3” note.

We do this warm-up throughout the year to improve endurance, control, balance, tone
quality, and intonation. If someone does NOT control the sound. we star-tail over with
group 1, and everyone listens better. You can also use it to learn control of dynamics by
doing a crescendo and decrescendo on each pitch.

4. Bb Chord Note: Indicate dynamics with baton so students become more

accustomed to watching the baton. They did not have a lot of experience
with this in a beginning class. Also use the chord note to practice accurate cut-offs.

5. Tonguing Exercise on Concert F pitch

After doing the Tonguing Exercise with the full band, check individual
tonguing by having students play -1 on a Concert F pitch. You
can go quickly down semi-circles or just do one section today and continue with other
sections another day. Besides checking tonguing you will also be able to check pitch
level. Before I have them play individually, I explain that I will not tell them ‘good” or
‘bad.” They can hear whether the tonguing is correct or not. I will give them
suggestions on how to improve if the tonguing is NOT good. I also ask, *What else
can we check besides tonguing as we listen to each person?” The students will
recognize and answer fairly quickly that this individual tonguing check will also show
pitch problems. We work on intonation in my 6” grade woodwind classes to
the extent that they are very aware of the importance of gocd tuning.

If there is a student who is having real problems with tonguing, I’ll send him to a
practice room with a student that I know can help him. It’s amazing what good little
teachers the students can be when given some responsibility.

6. Continue review from method book by playing two or three lines.

7. Continue working on new song.

DAYS FOUR AND FIVE

I would continue the ?vann up” exercises, but they will go faster because the students already
know what to do by now. This will allow more time for working in the method book and working
on some songs. Se as creative as possible so the method book does not become dull. Some
exercises will be more beneficial to clarinets than others. Let clarinets play alone as a section, or
in small groups, (Small groups give great opportunities to emphasize intonation.) as often as
possible to check their progress.
 .

GOING OVER THE “BREAK”

Convince your clarinet players that smooth facility over the break is an absolute necessity.
THERE IS NO OPTION. As part of the daily warm-ups for your band (beginning the second or
third week of school -after other full band proceduresare established), have clarinets play the
following:

Then add the exercise an octave higher to improve f,he high register.

Later, we add high 0 to this pattern.

We team this in 6” grade, but it must be done regularly to ensure that the students continue to
do it correctly. They must be reminded that there is more resistance on 6 natural and C than on
G and A. Therefore, they must increase the air speed. “You can’t play I3 natural and C with G
air.”

As the full band increases its “repertoire” of scales, check the clarinets on the smoothness of
playing over the break. CORRECT HAND POSITION IS A MUST!1 There is a full-length mirror
in the band office at our school, and I have students play in front of it when there is a hand
position problem. They may not believe me, but the mirror doesn’t lie!

Use band arrangements with “break” passages to check clarinets periodically. This makes
excellent challenge and chair tryout material.

INTONATION

1. It’s never too early to start emphasizing listeninq to match pitch. Have Iti chair players
match to Concert F pitch; clarinets listen and match their open G. Then check other notes
as time allows.
2. Have full band play note. Everyone stops except one player you designate. Have students
listen and compare individual player to full band sound. (flat, sharp, or in tune?)
Demonstrate by deliberately pulling barrel out too much on one clarinet player’s instrument
so all students can hear and distinguish the non-matched sound.
3. Teach students basic tendencies of notes on their instrument.

On clarinet: Loud dynamics-pitch goes flat.

Soft dynamics--Pitch goes sharp.

OTHER PITCH TENDENCIES ON CLARINET

Low E. F, F#, G = flat--Listen and play softer if necessafy. There are no alternate fingerings to
compensate for the tlatness.
 Gel c
a
cl29
7:
0 0

KN
1) Use chromatic fingering. 8) Same additions as for A.
2) This fingering is too sharp on some clarinets. 9) Add low F key or hold r-h. ring finger
3) Listen! There are no alternate fingerings. close to open hole.
4) Do not use Eb key. 10) Pull middle joint.
5) DO use Eb key. 11) Listen and match: might could
6) Cover right hand finger holes. pull barrel a little if it doesn’t “mess
7) This fingering adds resonance. Also add up” other notes!!
r.h.. including low F key to lower pitch. 12) % hole top finger hole.

Other Suggestions

To add resonance to C# below the staff, add the low E key.

To add resonance to G#, second line, cover the first and third tone hole of the lower
joint.

To add resonance to A, second space, cover the 2” and 3” tone holes of the upper joint
(listed on chart above) AND the first and third tone holes of the lower joint plus the right hand
low F key.

IMPORTANT NOTE: All of the suggestions for added fingerings must be tried on each
individual clarinet. For some instruments, the fingerings are totally successful: for others, they
may not improve the ihtonation enough to use them. In general, if a note is too flat, OPEN a
key; If it is too sharp. CLOSE a key. Don’t be afraid to experiment.
 -Suggestions for Improving Discriminating Listening and Analysis

1. TONE RATING SCALE

++ = Exct?llent

+ = Very Good

OK+=Good

OK(+) = AlmostGood+
OK = Adequate

OK(-) = Almost Average -

OK - = Average-

- = Not acceptable (even to grandmother)

I explain my tone rating scale to the students and then let them play one long note or a short
passage, going down the section. I write the rating on the overhead, never looking at which
student is playing. Sometimes we go back and do the process a second time, and I make a
second column beside the first one so we can see if the student adjusted anything to improve the
sound the second time. I use this rating scale in everything I listen to (challenges, chair tryouts,
Region, and Area tryouts). The students become very conscious of tone quality and are very
excited when they can earn a + on tone!

II. We team to listen and rate our playing on a scale of 1 to 10 with 10 being the best. They
get very proficient at this--and they are very honest!

Ill. I play an excerpt two different ways to demonstrate the incorrect way vs. the correct way.
As their listening skills improve, they almost always can choose the best way of playing a
passage.

CONVERTING STUDENTS TO BASS CLARINET

We do not add low woodwinds at our school until the third year (8” grade) simply because we do
not have enough instruments. By the time we do change students to bass clarinet, we know
them well enough to determine how diligent they are as band students. We allow the students to
volunteer for the low woodwinds (generally from the middle of the section); they take a horn
home for a couple of days after being given some vew aeneral information regarding the
difference in embouchure. We then listen to the students and decide which ones seem to have
the most potential on the larger instrument.
Things to consider:
1) large enough person
2) large enough hands
3 ) ability to use air property to get a big sound
4) passing grades!
:
 PREPARATION FOR ALL-REGION TRYOUTS

Our 2” year (7” grade) students participate in Jr. High Ail-Region tryouts each year.
make a teaching tape of the tryout music in which I point out any alternate fingerings that are
needed, count difficult rhythms, discuss the key, etc. In general, I teach a lesson on tape and
then play the music for them. These tapes can be more helpful than a professional tape
because of the explanations given & because I can petform the tryout music at various tempos
since the performance tempo is usually too fast for practice in the early stages. The students can
bring their oun tape to be duplicated from the original. I also will send small groups with the tape
recorder to practice during class. We set up a schedule of practice during class every day for
several weeks, using all available practice room space.., The& may be six or eight groups to
practice the first half of the period and then a different set of six or eight groups to trade places
and practice the last half of the period. Each group will usually consist of ~VKI or three players at
the time. By using this method of practice, we can continue band rehearsal Wile still allowing
students woddng on Region music to have some extra practice time at school.

EQUIPMENT AND MINOR REPAIRS

1. Parents and students must understand the importance of gocd quality instwments All
beginning instruments must be approved by a band director.

2. Students should be encouraged to buy a professional line mouthpiece, recommended by

the band director.

3. Type of reed and ligature can improve tone quality, with the strength of reed being matched
to the mouthpiece. Even the placement oi the reed on the mouthpiece makes a difference
in the tone quality. (Demonstrate)

4. “Dry reed test? can help you find best reeds in a box in less than five minutes!
(Demonstrate)

5. Learn to troubleshoot repair problems. Many times, the playing problems a student
experiences may be attributed to a ‘horn problem” rather than lack of skill on the part of the
student. It is very he!pful to know the most common repair problems to look for on a
clarinet:

6 natural adjustment
A-key adjustment
Leak under a pad
Springs on the wrong side of a post...or broken...or too weak
Pads too high or too low (can cause many intonation problems)

6. Many minor repairs can be successfully done with minimum equipment:

needlenose pliers
regular pliers
set of small screwdrivers
leak light (VERY IMPORTANT)
assorted pads
stick of pad glue
matches

And when all else fails, rubber bands and masking tape can do wonders until you can take the
clarinet to the repair shop!!
 MISCELLANEOUS TlMESAVlNG TECHNIQUES AND OTHER HINTS

1. Use pre-arranged signals during wamwps to indicate needed corrections without having to
stop the entire band.

2. Use “nick-names” for quicker explanations and reminders:

3. Teach register key fingerings by comparing Ath low notes already learned.

4. Review names of notes by using flash cards at the beginning and ending of class.
Variation: Use overhead projector and point to notes. Set metronome at increasingly
faster tempos.

5. Rhythm hint: “The note head gives the pitch; the stems and beams give the rhythm.”
The student MUST look at more than the note head.

6. Use rhythm charts as a means of checking clean tonguing as well as counting and playing
rhythms.

7. Se creative in finding times to give extra help to students. If they can’t come before or after
school for help, you have to find another time.

8. Use tape recorder for challenges and chair tryouts so your full band rehearsal is not
interrupted.
 FUN, PERFORMANCE, AND RETENTION

The question is often asked, “What can I do to improve the retention rate in my band programr
There are many variables that may cause students to drop out of band...scheduling problems,
financial problems, scholastic concems, etc., but there is one factor that can do more than
anything else to KEEP students in band: you as a director must genuinely love the students.
You can drive them hard as long as they know you really care about them as a person and not
just as a means of making you successful as a band director.

A second important factor is the stability of your band staff. Whether you are a one-person staff
or a corps of band directors and private lesson teachers, the .students will feel more security and
will know that you believe in their band program if you determine to stay in one school district for
more than just a few years. How can they want to stay in a program that changes directors every
year or two? Many of our students in today’s society have very little stability at home: our band
programs &n become their %milya away from home. This may be more important than any
music we eveiteach them.

The third factor that I believe helps retain students in our band programs is the opportunity to
perform. Middle School students love to perform, and we must give them occasions to do so as
often as we can, using the performances as a teaching tool to improve their musicianship and
playing ability. My general time frame for performances with my 7@ Grade Sand is as follows:

Concerts are given in mid-October with the full band (2 classes combined. totaling 160-170
students)

Christmas with the full band (one performance on our middle school campus and one
performance on an elementary campus)

Late February or early March with each 7” grade band giving a separate class concert
on the middle school campus

Mid-April with the full band on our middle school campus

Late May (Spring Concert) -Cur 7” Grade Sand and our 8” Grade Band perform on the
same night with a reception for families following the concert.

All of the concerts except the Spring Concert are given during the school day, and the
percentage of band parents, grandparents, and other friends who come is amazing. During
these concerts, we include a couple of “special numbers” to give sections. individuals, and/or
ensembles a chance to perform. This is a good time to motivate different sections to work extra
hard because they are being featured. In the appendix at the back of this handout, you will find
the concert repertoire for the past few years, with publisher. In selecting the music for each
performance, I try to include something that’s really fun for the band, arrangements that are
entertaining for the audience, selections that will teach specific aspects of musicianship to the
band, and songs of varying degrees of difficulty (some that are very easy but sound
gcod...others that are challenging for the amount of time the students have been playing their
horns).

Toni Hale
June 1997
 Suggested References on Clarinet Teaching

Guide to Teachina Woodwinds, by Frederick W. Westphal

This is an excellent sourcebook for woodwind teachers or for brass players
who need to learn how to teach woodwinds. There is a section on each of the
basic woodwind instruments and a special section on mouthpieces and reeds.
The appendices include information on acoustics, vibrato, recording, and
sources of woodwind music. An extensive bibliography and excellent fingering
charts (including harmonics and trills) are also given.

The Artof Clarinet Plaving, by Keith Stein

The Teachina of Instrumental Music by Richard Colwell

A Guide to the Understandins and Correction of Intonation Problems, by

Al “Corky” Fabrizio

Bandworld, January-February, 1995, Vol, 10, No. 3 (a special clarinet issue)

Clarinet Technique, by Frederick Thurston

This is a small book and is written in a very readable and easily understood
style.
 Concert Repertoire for p Grade Band Concerts

There are limitless choices available for repertoire for young bands today.
Listed below are selections that have been successful teaching and performance numbers in our
band program in recent years. The concerts listed are for the calendar years 1993 through
1996 and wre performed either by an individual 7” grade band class or by both classes
combined into the full band of 150 to 165 members. Each individual band class is equal in
ability and size (not a top and bottom band). The concert dates are given as a reference point
for preparation time for each performance.

February 23, 1993-la Period Band Claw

Buglers March, by Ployhar from Here and Now Book; pub. Belwin
Night at the Opera, arr.‘O’Reilly; pub. Alfred
Trumpet Special: Irish Washerwoman
The Yellow Rose of Texas, arr. Balent; pub Warner Bras.
Low Brass Special: Little Brown Jug
Dixieland Blues, by Menz: pub. Luveme
Percussion Special: Aquamarine
Great Gate of Kiev, by Moussorgsky, arr. Osteriing; pub. Jenson
Soul Explosion by Caruso: pub. Studio P/R

February 25,1993-p Period Band Class

March for a Celebration by Littell: pub. Warner Eros.
Evening at the Symphony by Feldstein and O’Reilly; pub. Alfred
Tuba Special: Tuba Man
Rudimental Rumpus by Reynolds: pub. Luveme
Clarinet Special: Galway Piper
Dixieland Blues by Menz: pub. Luveme
Percussion Special: Fox Hunters
Moon River, arr. Cook, pub. Famous Music Corp.
Eye of the Tiger, arr. Stuart; pub. Warner Bras.

April 16,1993-Full Band

William Tell Overture, arr. Griffin: pub. Hal Leonard
Fanfare and Celebration by Jennings; pub. Hal Leonard
Clarinet Special: Clarinet Polka
Dixieland Salute, arr. Balent; pub. Can Fischer
If You Must Doodle. Doodle Somewhere Else, by Hotsinger; pub. Wingen-Jones
Percussion Ensemble: Chinese Laundry Man
Soul Explosion, by Caruso: pub. Studio P/R
Moon River, arr. Cook; Pub. Famous Music Corp.
Aldergate March, by Ralph and Jack Hale: pub. TRN

May 20,1993 (Spring Conce@-Full Band

The Star-Spangled Banner
Fanfare and Celebration, by Jennings: pub. Hal Leonard
Flute Special: Here is a Fish Fat and Fine
Under the Sea from “The Little Mermaid” , an. Ostening: pub. Jenson
Dixieland Salute, an. Balent; pub. Cart Fischer
French Horn Special: Hunting Chorus
Gcd Bless the U.S. A, by Greenwood. arr. Osterling; pub. Jensen
On a Hymnsong of Philip Bliss, by Holsinger; pub. TRN
Aldergate March, by Ralph and Jack Hale; pub. TRN
October 15,1993-Full Band
Kensington March, by Edmondson; pub. Queenwood
Folk Songs, USA, arr. Sebesky; pub. Studio 224
Flute Special: Grandfather’s Clock
Percussion on the March, by O’Reiiiy, pub. Alfred
Trumpet Special: Bill Bailey
Simple Gifts, arr. Lowden; pub. Northeastern Music Programs
Percussion Ensemble: Latinoiogy
Circus Suite. by Ralph and Jack Hale; pub. TRN
Rock Them Basses, by O’Reiiiy; pub. Alfred

December 15 and 16 1993 (2 performances) -Full Band

Sounds of Christmas, &r. Kinyon: pub. Luveme
Christmas Chimes, arr. Kinyon: pub. Alfred
Saxophone Special: There’s a Song in the Air
Clarinet Spekiai: The First Ncweii
Let it Snow, art. OsWiing; pub. Warner 6ros.
French Horn Special: it Came Upon the Midnight Clear
Little Drummer Boy. arr. Paul Cook: pub. Columbia Pictures Publications
Brass Ensemble: Joy to the World
I’ll be Home for Christmas, arr. Jerry Nowak; pub. 881
Angels We Have Heard on High, arr. Edward M∈ pub. Pro Art
Christmas Moods, an: Hal Leonard; pub. Hal Leonard

March 2, 1994-lst Period Band Class

Royal Processional. by Mark Williams, Ed Sueta Band Method, Book 2, pub. Macie
Clarinet Special: Gaiway Piper
Largo and Finale. Dvorak/aarr. O’Reiiiy; pub. Alfred
Low Brass Special: Little Brown Jug
Saxophone Special: Fox Hunters
A La Manana from EARLY PERFORMANCE BAND FOLlO,by Niehaus; pub. Highland Music
Percussion Special: Cornball Express
Trumpet Special: Hunters Chorus
Rocky Top, an. Edmondson, pub. Hal Leonard

March 4, 1994-2nd Period Band Class

March Triumphant, arr. Ployhar; pub. Belwin
Shenandoah, arr. Cook; pub. CoiumbialScreenGems
Clarinet Special: The Ash Grove
Trumpet Special: Hunters Chorus
Rockin’ Easy, by Ed. Sueta. from Sueta Method Book 2, pub. Macie
Percussion Special: On the Q-T
Low Brass Special: The Yellow Rose of Texas
Rocky Top, aarr. Edmondson: pub. Hal Leonard

April 15,199G-Pull Band

Bishop’s Gate March, by Ralph and Jack Hale: pub. TRN
Shenandoah, arr. Cook: pub. ColumbialScreenGems
A Concert Ceiebtion, by Kinyon; pub. Alfred
Flute Special: Flight of the Bumblebee
The Funny Donkey, by Sebesky: pub. Cari Fischer
Dixieland Blues, by Menr; pub. Luveme
Percussion Ensemble: Timbre Variations
Will Your Be There? From FREE WILLY by Jackson/Smith: pub. CPP/Belwin
Latin Festival by Ralph and Jack Hale; pub. TRN
May 19,1994 (Spring Concert)-Full Band
The Star-Spangled Banner
A Concert Celebration by Kinyon, pub. Alfred
Amazing Grace, arr. Edmondson, pub. Hansen House
Flute Special: flight of the Bumblebee
Basin Street Blues, by WilliamslEdmondson, pub. Jensen
Will You Be There? From Free Willy by Jackson/Smith, pub. CPP/Belwin
Aladdin, an. Sweeney, pub. Hal Leonard
Bishop’s Gate March by Ralph and Jack Hale, pub. TRN

October 21, 1994--Full Band

March Triumphant, an. Ployhar; pub. Belwin
Pavane for an Arabian Princess, by Josuweit; pub. Northea&em Music Programs
Low Brass Special: 76 Trombones
Concerto for.Drum Pads, by Kinyon, pub Alfred
Gmovin’, by Hilliard. Sueta, Book One, pub. Macie Pub.Co.
The Saints, an. Sueta, from Book Two
Clarinet Special: Dona Nobis Pacem
Percussion Ensemble: Chinese Landry Man
Evening at the Symphony, by Feldstein and O’Reilly; pub. Alfred
Reek Them Basses, by O’Reilly; pub. Alfred

December 14 and 15, 1994 (two performances)-Full Band

Carol of the Mistletoe, arr. Ployhar; from HERE AND NOW BOOK; pub. Belwin
Christmas Chimes, arr. Kinyon; pub. Alfred
Flute Special: 0 Tannenbaum
White Christmas by Irving Berlin; arr. Van Auken; pub. Hal Leonard
French Horn Special: It Came Upon the Midnight Clear
Christmas Joy from Holiday Suite by Ralph and Jack Hale; pub. TRN
Baritone and Tuba Special: Up on the Housetop
I’ll Be Home for Christmas, arr. Nowak; pub. BBI
Christmas Classics, an. O’Reilly; pub. Alfred

February 21, 1995-l“ Period Band Class

Buglers March by Ployhar from Here and Now Book: pub. Beltin
Flute Special: Yellow Rose of Texas
Sax Special: Skaters’ Waltz
Clarinets on the Run, by Ostetiing; pub. Jensen
Tuba Special: American Patrol
Clarinet Special: Samba de Katerina
Trombone Solo: 76 Trombones
Flower Lady by Ralph and Jack Hale: pub. TRN
Under the Sea from “The Little Mermaid”; arr, Osteriing; pub. Jenson

February 23, 1995-2”’ Period Band Class

Royal Processr ‘onal March from Sueta Book Two, arr. Williams
Clarinet Special: Gahvay Piper
Tuba Special: Tuba Man
Oanse Macabre by Saint Saens, an= By Henderson; pub. Kendor
Flute Special: Grandfather’s Clock
Sax Special: Fox Hunter’s Duet
Trumpet Solo: El Torero
Flower Lady by Ralph and Jack Hale: pub. TRN
Little Brown Jug Swings, arr. Ployhar; pub. Belwin
April 11, t995--Pull Band
William Tell, an. Griffin: pub. Hal Leonard
Northland Saga, am Williams: pub. Alfred
Flute Special: Allegro
LassusTrombone, arr. Balent: pub. Carl Fischer
Can You Feel the Love Tonight? (from Lion King) by John/Lavender, pub. Wonderland
French Horn Special: Hunters Chorus
flower Lady by Ralph and Jack Hale; pub. TRN
El Tom by Griffin; pub. Hal Leonard

May 18, 1998 (Spring Concert)-Pull Band

The StarSpangled Banner
Newastle March by Vinson; pub. Hansen House
Northland Saga am By Williams; pub. Alfred
El Torero ‘(trumpet solo) by Thomas
Can You Feefthe Love Tonight? (from Lion King) by John/Lavender; pub. Wonderland
I Heard It Through the Grapevine arr. by Smith: pub. Jobete Music
Song for Grandma by Ralph and Jack Hale: pub. TRN
El Tom by Griffin; pub. Hal Leonard

October 13, 199!5-Pull Band

The Buglers by Edmondson, pub. Queenwood
Chorale and Canon, arr. Richard Schenner; pub. Luveme
Low Brass Special: Little Brown Jug
Name Those Tunes, an= Edmondson; pub. Queenwood
Concert Capers by ffinyon; pub. Alfred
Clarinet Special: Polka for Two
The Red, the White, and the Blues, arr. Feldstein; pub. CPP/Selwin
The Ballad of Danny Boy, an. McKenna; pub. Northeastern Music Programs
Rock Them Sasses, by O’Reilly; pub. Alfred

December 13 and 14, 1995 (2 performances)-Full Band

Christmas Joy from Holiday Suite by Ralph and Jack Hale; pub. TRN
Christmas Chimes, arr. Kinyon; pub. Alfred
Oboe Solo: 0 Little Town of Bethlehem
Let It Snow, arr. Ostetling; pub. Warner Eros.
Trumpet Special: It came Upon the Midnight Clear
0 Come, All Ye Faithful, arr. Gingery; pub. William Allen Music
Flute Special: PatePan
I’ll Se Home For Christmas, arr. Nowak; pub. SSI
Angels We Have Heard on High, an. Edward M∈ pub. Pro Art
Silent Night from Christmas Moods at-r. Hal Leonard: pub. Hal Leonard

February 27, 1998-l- Period Band Class

Greenway March by Ralph and Jack Hale: pub. TRN
Clarinet Special: Finlandia
Sax Special: The Entertainer
The Way We Were, an= Cook; pub. ColumbiaIScreenGems
Tuba Special: The Yellow Rose of Texas
Tmmpet Special: Fiight of the Bumblebee
Latin0 Laura, by HoIt; pub. Northeastem Music Programs
Bell Special: Turkey in the Straw
P.S., Ifs the Blues, by
. Feldstein; pub. Alfred
March 5, i99G2”d Period Band Class
Maroh for a Celebration, by Littell: pub. Warner Bra.
Clarinet Special: Hill City Rag
Flute Special: A May Dance
The Homecoming, arr. Balent; pub. Warner Bro.
Tuba Special: Tuba Man
Trumpet Special: The Flight of the Bumblebee
Latin0 Laura, by Hoit; pub. Northeastern Music Programs
Bell Special: Turkey in the Straw
Rockin Easy, by Ed Sueta, from Sueta Band Method Book 2, pub. Macie

April 16,199WulI Band

Greenway March by Ralph and Jack Hale, pub. TRN
Song of the Flute, arr. McGinty; pub. Edmondson and McGinty
The Automatic, Chromatic Lots of Fun Warmin’ Up Blues, by Clar; pub. Nc$man Lee
French Horn Ensemble: SoftShoe Dance
Latin0 Laura, by Holt; pub. Northeastem Music Programs
Little Brown Jug and All That Jazz, an. Tyler; pub. Alfred
Trumpet Special: Chiquita
Los Ninos Espanoles by Dyess; pub. Northeastern Music Programs
God Bless the USA by Greerwood; arr. Osterling; pub. Jenson

May 16,1996 (Spring Concert)-Full Band

The StarSpangled Banner
The Ballad of Danny Boy an. by McKenna: pub. Northeastern Music Programs
Chiquita by McKay (Tmmpet Trio with Parts doubled)
Dixieland Salute an-. by Balent: pub. Carl Fischer
The SoftShoe Dance by Buchtel (French Horn Section)
Los Ninos Espanoles by Dyess; pub. Northeastern Music Programs
Yankee Doodle Dandies (French Horn Section)
Amazing Grace an: Edmondson; pub. Hansen House
Greenway March by Ralph and Jack Hale; pub. TRN

October 18, 1996-Full Band

March Triumphant, arr. Ployhar; pub. Belwin
Chorale and March by Vie Williams; from Sueta BOOK ONE, pub. Macie
Trumpet Special: Dona Nobis Pacem
Marywood Overture, by Josuwit; pub. Northeastern Music Programs
Jazz Cats, by McKenna; pub. Northeastern Music Programs
Low Brass Special: Bill Bailey, Won’t You Please Come Home?
Those Clever Clarinets, by Edmondson; pub. Queemwod
Groovin’ from Sueta BOOK ONE, pub. Macie
Rock to the Max, Mr. Sax, by Compello; pub. Carl Fischer

December 18 and 19,1996 (2 perfonnances)-Full Band

Cam1 of the Mistletoe, arr. Ployhar. from HERE AND NOW BOOK; pub. Belwin
ChristmasChimes; arr. Kinyon; pub. Alfred
French Horn Special: It Came Upon a Midnight Clear
The Christmas Parade, an. Kinyon; pub. Alfred
Flute Special: 0 Tannenbaum
God Rest Ye Merry, Gentlemen, arr. Joe Haboush; pub. Studio P/R
Little Drummer Boy, arr. Paul Cook: pub. Columbia Pictures Publication
Sax special: Winter Wonderland
I’ll Be Home for Christmas, an= Novak: pub. BBI
Christmas Classics, arr. O’Reilly; pub. Alfred