DAILY DRILL
for winds and percussion
with percussion by Ralph Everett Hicks
DAILY DRILL (CONDUCTOR) • TSPB24-DD00-CON
by Eric Rath with percussion by Ralph Everett Hicks
© 2024 Tapspace Publications, LLC. Portland, OR. International copyright secured. All rights reserved.
www.tapspace.com
Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.
Cover design by Jesse Mattson
Interior layout and design by Murray Gusseck
Backing tracks for Scale Express, Scale & Arpeggios, Scale Degrees & Thirds, Two Octave Arpeggios, Broken Chords, Scale Sequence 1, and Scale Sequence 2 composed by Alex Weinberg (alexwnbrg@gmail.com)
Backing track for Scale Builder composed by Fred Emory Smith (fredemorysmith.com)
Backing track for Chromatic Builder composed jointly by Alex Weinberg and Fred Emory Smith
All live guitar tracks for Broken Chords performed by Kyle C. Smith (www.kylecsmithmusic.com)
Piano performance for Scale Sequence 2 by Marco Diaz
Bass performance for Scale Sequence 2 by Saúl Sierra Percussion performance for Scale Sequence 2 by Carlos Caro
Post-production audio and voice-overs by Jim Casella
Instrument photos courtesy of Yamaha Corporation of America, Band and Orchestral Division
DAILY DRILL CONTENTS
Key of Eb
Key
Key
Key of
Key of B
1.
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence
Key of E
1.
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence
8. Scale Sequence 2
Key of A
1. Scale
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
Key of D
Key of G
Scale Appendices
ABOUT THE AUTHORS
Eric Rath is an active educator, guest conductor-clinician, adjudicator, arranger, and composer. He has served as a band and orchestra director as well as a percussion specialist at secondary and collegiate levels.
As a composer, Mr. Rath has a growing list of original works and arrangements published through Alfred Music, FJH Music, Tapspace Publications, and TRN Music. His music has been described as “very exciting for performers and audiences alike” and has been performed nationally as well as abroad at the Midwest Clinic, the Texas Music Educators Association Convention, and the International Double Reed Society’s Convention. Mr. Rath and Ralph Everett Hicks are co-authors of the popular percussion ensemble collection Beyond Basic Percussion, the snare drum and keyboard fundamentals books Five Minute Drill and Nine Minute Drill, and the multi-use solo and ensemble transcription book The Golden Age of Ragtime. All are published by Tapspace Publications.
Mr. Rath is a veteran member of the Amarillo Symphony Orchestra. He is an in-demand freelance percussionist and serves on the worship team at his church. Additionally, he is also an alumni member of the Phantom Regiment Drum and Bugle Corps.
Mr. Rath is a proud graduate of West Texas A&M University, where he received both his Bachelor of Music Education and his Master of Arts degree.
Mr. Rath resides in Canyon, Texas, with his wife Kayla and their children Regan, Grant, McKinley, Jackson, and Harrison. His professional affiliations include the Percussive Arts Society, Texas Music Educators Association, Texas Bandmasters Association, and the American Society of Composers, Authors and Publishers (ASCAP). He is a Yamaha Performing Artist and also an educational artist for Innovative Percussion, Inc.
Ralph Everett Hicks teaches general music at Orange Grove Elementary in North Houston and is Founder and Executive Director of the nonprofit group drumming corporation Let Them Drum, providing recreational and therapeutic group drumming experiences for people of all abilities. With 20 years of public education experience in the greater Houston area, Mr. Hicks is an international clinician whose educational materials are available worldwide through Tapspace Publications. In 2012 Mr. Hicks was Mitchell Intermediate’s Teacher of the Year and was named Conroe ISD Outstanding Teacher in the Arts by The Woodlands Waterway Arts Council.
Mr. Hicks is a member of Phi Mu Alpha Sinfonia, the American Society of Composers, Authors and Publishers, and is a Remo Recreational Music Partner.
If you were to study the rehearsal habits of successful wind and percussion programs, one of the common traits you’d likely encounter is a commitment to the fundamentals, whether the next performance were in two months or two hours. Helping our students master the basics helps foster a culture of confidence and achievement, paving the way for them to become their best musical selves.
Many of us understand this is easier said than done, and sometimes students make it all the way through high school knowing just one or two scales! When time is tight and a performance looms, it can be all too easy to spend the bulk of available time and energy focusing solely on the performance literature at the expense of the fundamentals.
In our experience, however, time spent focusing on technical development and sound production actually makes learning and mastering new literature easier and more efficient. After all, which group is more likely to need extra time to master a challenging sixteenth note chromatic passage? One that drills their chromatic scale three to four minutes a day or one that hasn’t seen a chromatic scale since they learned it during their first year?
We all know the feeling of “pulling teeth” just to get your students to play an exercise they find boring. After all, a piercing metronome being blasted through a PA isn’t a very musically motivating way to encourage playing in time.
Back in 2013, we co-authored a book titled Five Minute Drill (FMD). This simple method was a series of percussionspecific “apple a day” exercises for practice pads and keyboard percussion presented along with plug-and-play backing tracks. The idea was to give the percussion students something productive (and fun!) to do while the winds were playing through their warm-ups in class.
FMD became immensely popular; so much so that in 2018 we released a follow-up book titled Nine Minute Drill This newer version started where FMD left off and offered more advanced exercises for percussion, again with engaging backing tracks.
In the years since these books have been released, we’ve continually received requests for a version of these books that could be used with a full band. You now hold in your hands the answer to those requests!
In DAILY DRILL we present what we hope will be the antidote to boring, metronome-driven drills. A range of backing tracks have been composed to fit the included exercises precisely and help motivate the students from a musical place while they play. Rather than “click-click-click,” they can now play along with actual musical compositions in a range of styles including funk, mambo, and even dubstep!
The exercises contained herein have been scored for winds AND percussion … and not just a single line of percussion. There are staves for both two- and four-mallet keyboard playing, three variations of exercises for practice pads, and up to six auxiliary percussion parts presented on three staves. Your percussionists will have plenty to keep them busy during the exercises!
We hope you will find DAILY DRILL to be a unique and fresh approach to reinforcing fundamentals with your students in an enjoyable and effective way, balancing the scale of work versus play. Incorporating entertainment into a solid approach to technical mastery will enhance rehearsal efficiency and student engagement, thus creating a more positive experience in which your ensemble can thrive.
Eric Rath and Ralph Everett Hicks have a combined 40+ years of wind and percussion teaching experience, cocreating the highly successful resources for student technical development Beyond Basic Percussion, Five Minute Drill, Nine Minute Drill, and The Golden Age of Ragtime.
HOW TO USE THIS BOOK
DAILY DRILL is designed to foster solid fundamentals and lasting improvement for winds and percussion in a variety of settings:
• Full band rehearsals
• Sectionals
• Lessons
• Individual practice
Through a daily regimen of exercises focused on intermediate to advanced techniques, students will have the opportunity to develop the maturity, accountability, and confidence needed to be valuable members of their ensemble.
This regimen is presented in twelve sections—one for each key. Each section consists of eight exercises covering basics like scalar motion, arpeggios, movement in thirds, and chord structures. A thirteenth section covers chromatic motion in the keys of F and Bb
Each exercise has corresponding play-along tracks at a variety of tempi and styles. The tracks were designed to make the exercises fun for teachers and students, and they provide a fresh and engaging change of pace from traditional metronome use.
For the percussionists in your band, we have provided a wide variety of options to keep ALL of them engaged at varying levels of experience. Each exercise contains:
• Two mallet keyboard staves (2- and 4-mallet)
• Three practice pad staves (levels 1, 2, and 3)
• Three percussion accessory staves with consistent instrumentation from exercise to exercise
DAILY DRILL is all about providing fun and inclusive ways to help your students take control in making their best sounds!
To help maximize what you can do with this book, here are some general guidelines on how the material was meant to be used.
Make a plan
We realize many band directors will handpick the exercises their students work on rather than proceed through this book systematically from start to finish. We approached DAILY DRILL with this in mind. The ultimate goal would be a regular rotation of the exercises that make the most sense for your students, combining them however best to fit their needs.
Consider weighing each DAILY DRILL session as a percentage of your total class time, (e.g., 20–25%). You can always lower this percentage as performances approach, but try not to let it go down to zero!
For example, consider a 50-minute class. Subtracting 5 minutes for setup, announcements, and teardown brings it down to 45 minutes. A quarter of this would amount to roughly10 minutes of DAILY DRILL exercises. Timings are listed at the front of each exercise so you can plan your time effectively.
On lesson plans
A cliché exists that the average teacher views lesson plans as cumbersome and valued only by administrators. Taking a closer look, it isn’t using the lesson plan that teachers dislike — it’s making and keeping track of them.
While lesson plans do require a little extra work, they also provide invaluable data that can be used to maintain consistency and improve efficacy from year to year.
To assist with this, we have created data tracking PDF tools that can be used to aid in the creation of lesson plans as well as track data along the way. These can be found in the supplemental files that accompany the book.
Use the recordings
The play-along tracks really do make a difference! They generally come in three tempo flavors—slow, medium, and fast (The Chromatic Builder exercise contains a fourth ultra-fast variation.) We recommend starting out slowly so that students will have a chance to practice counting and/or verbal note naming.
Setting volume levels
You may have to experiment in order to find the right volume for the play-along tracks. We want the experience of using the tracks to be additive, not to take away from a student’s ability to listen or concentrate on producing good sound. It’s probably best to set the volume level on the softer side initially and increase as needed rather than setting it too loud and accidentally blasting everyone’s eardrums!
For your convenience, the included Weekly Progress Chart data tracking PDF included with this package displays a volume knob graphic you can use to jot down volume settings for each exercise. This way you won’t have to remember!
Develop an ensemble that listens
Consider the physical setting
Knowing how their sound fits into the band is a crucial skill for any ensemble musician. The most common way to balance your band is to fit your woodwind sound into that of the brass and the percussion sound into that of the winds. Helping students maintain awareness of their responsibility to the group will create an ensemble that breathes, moves, and releases together.
You will find these exercises extremely flexible in their application. While DAILY DRILL was designed to be used primarily in an ensemble setting, it can be equally effective in a sectional, masterclass, private lesson, or at-home practice setting.
However the play-along tracks are used, the ability of the individual student (or collective ensemble) to evaluate their individual sonic contribution is of paramount importance. To this end, it will be important to find a good, balanced volume for the play-along tracks. If the track is too soft, students may wind up straining to hear the track rather than listening to their own sound. Conversely, if the track is too loud, the students will not be able to hear themselves adequately, which can produce bad habits.
We recommend small earbud headphones for individual practice at home or in lessons. The earbuds that many students use with their smartphones should work just fine for this purpose. Apple AirPods are particularly useful because they have a “transparency” mode that employs an outward-facing microphone, allowing the wearer to hear external sounds in addition to the backing track. In the classroom a typical public address (PA) system should suffice.
Whether in headphones or over a PA, aim for a medium-low volume. Experiment until you find that sweet spot, balancing the accompaniment and pulse reinforcement of the play-along tracks with the live sound being created.
Track your data
Included in your supplemental files are progress charts for all the exercises in DAILY DRILL—both for directors and for students. Gone are the days of not knowing how to fill a 15-minute warmup or a 30-minute practice session. With consistent use, patterns will begin to emerge, allowing you to make any necessary adjustments. Start with the slow tracks and away you go!
For teachers
Teachers can use the DD-Weekly Progress Chart-TEACHER PDF to track ensemble progress on a weekly basis. There is one row per exercise and one column per weekday. For each exercise on a given day, write in the keys, circle the tempo variation of the play-along track used, rate the ensemble’s progress (1–5) and even the resulting mood. Don’t forget to use the PA volume graphic to jot down the volume setting for next time.
For students
Students should use either the DD-Practice Log-WINDS or DD-Practice Log-PERCUSSION to track their own progress when practicing at home. These practice logs are broken down into five separate tables—one per weekday. Each table contains areas to enter key signatures, tempo variations, and time spent, and there is a general area to the right for rating their own progress (1–5), their mood, the total number of minutes spent that day, and any other quick notes.
The only difference between the two versions of the student PDF is that the PERCUSSION version includes the additional selection of which element of percussion was practiced—keyboard, practice pad, and/or accessories.
Additional considerations
The percussion and mallet keyboard content is saturated with instrument-specific techniques that complement the wind parts rather than simply doubling them. While the goals of independence and ensemble awareness remain the same, percussionists will find value in their contributions rather than feeling as if they are simply being kept busy.
Where possible, multiple octaves are present to allow students to work on various range considerations as part of their development. In some cases, this may even mean changing octaves within an exercise to best accommodate the desired range. Unlike a standard concert band piece, directors shouldn’t feel the need to cover all octaves. Instead, they should assign octaves based on the goals they want their students to achieve.
The book consists of twelve sections (one for each key) containing eight exercises each. The first twelve sections cover basic scalar motion, arpeggios, movement in thirds, and chord structures. A thirteenth section covers chromatic motion in the keys of F and Bb. You may want to focus on a specific key and then work on all the exercises within it, or you may want to work through specific exercises but in multiple keys. Regardless, directors should feel free to pick and choose from the book in a manner that helps them plan the best approach to covering material that is relevant to their program’s development.
In the Scale Appendices section (page 339), great care was taken to present the scales in as many formats as possible. However, due to the range and transposition of some of the instruments, not all of the scale formats will work perfectly in a group setting. Regardless, these are presented in a way that meets the rehearsal needs of the full band while also providing the student with a resource to work from in sectionals or private studies.
A word about French Horn: While this book is in unison and octaves, certain keys might place the horns too low or too high for their current range development. In those situations it might be preferable to have the horns actually play in a different key. For instance, when working on the Scale Sequence exercises in the key of Bb, the horns may benefit from doing the same exercises in the key of Concert F (their written key of C). Of course, this will mean that the horns sound an interval of a 4th or 5th apart from the rest of the band. To help with this, simply have the horns play their starting pitch before anyone else plays theirs to help them get the correct sound in their ear.
KEY POINTS TO FOCUS ON
For the winds
Chair and Stand Placement
• There should be a straight line from your eyes to the podium with the music within view.
• Adjust the height of the music stand to keep the head level. This usually means the middle of the stand is at eye level.
Posture and Hand Position
• Sit up tall in the chair with your back off of the backrest.
• Keep your feet flat on the floor.
• Bring the instrument to the face rather than contorting the body to the instrument.
• The keys/valves/slides of a wind instrument can only function properly when you maintain proper hand position.
Breathing, Air Speed, and Embouchure
• A beautiful, characteristic sound can only be achieved when the embouchure is properly formed while inhaling deeply and exhaling fast, purposeful air.
• Have a breathing plan. Breathe deeply one or two beats prior to an entrance.
• When a breath must be taken during a passage with few or no rests, be intentional about when and how to do so.
• If your breathing is an afterthought, you won’t produce a sound worth listening to.
Articulations
• Go for consistency. Each articulation should sound the same from one note to the next.
• The tongue should touch the same articulated “point of origin” with every note. While this can vary between instruments and teachers, staying consistent with tongue placement is always the goal.
Attacks and Releases
• Breathing in time while internally subdividing the pulse yields the best attacks.
• Generate a full sound all the way through to the release point.
• “Touch the rest” with your sound to release together.
For the percussion
Blending
• Always breathe with the band and balance to the ensemble.
• Fit within the wind sound.
Keyboard
• Keep your mallets centered with your body facing forward, shifting weight or adjusting foot positions as needed. Do not cross the legs!
• For a full-bodied stroke, wrists should be kept low with the mallet heads in the “up” position.
• Strike the center of the bars for a full, resonant sound. Strike the edges of the “black keys” if the tempo requires it.
• Push forward with your elbows to reach the upper manual (black keys) of the instrument.
• For any rolls, maintain smoothness and evenness of sound and always release with the rest of the ensemble.
Throughout the book you will find small symbols on or around the 4-mallet keyboard parts to help students quickly identify stroke types and various mallet and/or elbow position designations. The following table provides a quick definition of these symbols.
Note that many of the 2-mallet exercises provide a great opportunity to play with the inside two mallets (mallets 2 and 3) while holding the 4-mallet grip.
Stroke Types
Single-note rotating wrist stroke Double-stop vertical stroke Mallet numbering
Designations
Rotate the wrists such that the motion of the striking mallet has as little countering effect as possible on the resting mallet.
Move the wrist straight up and down when striking two bars simultaneously with one hand. Students should aim to strike both notes perfectly together.
The mallets are labeled 1-2-3-4 from left to right. Students should follow mallet stickings for optimal technique development.
When playing octaves, students are free to play with either the inside mallets 2 & 3 (top) or outside mallets 1 & 4 (bottom).
These symbols will help students understand how to position their mallets using their elbows when playing on both the upper (black keys)and lower (white keys) manuals of the instrument.
Practice Pad
• Follow the recommended sticking patterns. They serve a purpose and remove the guesswork.
• Competing with live instruments for volume would be counterproductive. If you are unable to hear yourself, focus more on how your rhythms and techniques feel in response to the pad. (This will also keep the band director off your back for being too loud!)
• Maintain consistent heights and volume with a full extension stroke for louder volumes and 2 to 3 inches off the pad for softer volumes.
• Maintain consistent techniques with accents, flams, ruffs, rolls, etc. Aim for the same feel and sound every time.
• Back fingers stay on the stick for control and power. However, allow the fingers to create space between the stick and the palm in order to relax the grip for faster speeds. This “space” created in the grip should be between the stick and the palm of the hand, not between the fingers and the stick. The fingers should remain in contact with the stick for proper technique development.
• Students will occasionally see slash notation along with the text “Air drum” in certain bars of an exercise. This is simply a fun way of marking rhythms visually without hitting the pad surface and is meant to be a performative complement to the exercise.
• Certain notes or passages are marked “rim.” Students using pads without a rim can simply “air drum” these parts.
Accessories
• Strike each instrument in the same place and with the same stroke type for every note.
• Look up as often as you can.
• Cut off your sound with the band’s release.
• Be deliberate with your dampening.
• Play dynamically but be careful not to let your peak dynamics interfere with the ensemble blend.
• The ending dynamic of suspended cymbal rolls has been intentionally left out and is at the discretion of the player. Listen to the rest of the ensemble as you perform the rolls and gauge your ending dynamic accordingly.
• The hallmark of any good percussionist is the professionalism with which they play accessory instruments. Great care should be taken to play them seriously with the proper technique.
Special techniques for crash cymbal parts
• “HH” — Press the cymbals together, lift one edge a few inches, and then bring them back together forcefully to produce a hi-hat “chick” sound.
• “Zing” — Place the edge of one cymbal against the inside of the other cymbal and “scrape” from the bell to the edge while maintaining moderately light contact between the two cymbals.
Key of C
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
2. Scale Express
SLOW - 66 bpm (0'50")
- 96 bpm (0'35") FAST - 126 bpm (0'30")
3. Scale & Arpeggios
4. Scale Degrees & Thirds
SLOW - 60 bpm (1'20")
- 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
8. Scale Sequence 2
Key of F
1. Scale Builder
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
- 60 bpm (1'15")
- 80 bpm (1'00")
- 100 bpm (0'50")
7. Scale Sequence 1
Key of Bb
SLOW - 60 bpm (3'05")
- 90 bpm (2'05") FAST - 120 bpm (1'40")
1. Scale Builder
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
SLOW - 60 bpm (0'45") MEDIUM - 80 bpm (0'35")
FAST - 100 bpm (0'30")
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
- 60 bpm (1'20")
- 80 bpm (1'00")
- 100 bpm (0'50")
8. Scale Sequence 2
Key of Eb
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
2. Scale Express
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
- 60 bpm (1'20")
- 80 bpm (1'00")
- 100 bpm (0'50")
8. Scale Sequence 2
Key of Ab
SLOW - 60 bpm (3'05")
1. Scale Builder
2. Scale Express
(0'50")
- 96 bpm (0'35")
- 126 bpm (0'30")
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
SLOW - 60 bpm (1'20")
- 80 bpm (1'00")
- 100 bpm (0'50")
6. Broken Chords
bpm (0'50")
7. Scale Sequence 1
Key of Db
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
- 60 bpm (1'20")
- 80 bpm (1'00")
- 100 bpm (0'50")
8. Scale Sequence 2
Key of Gb
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
&
& bbbbbb ? bbbbbb & bbbb & bbb & bbbb & bbbb
& bbbbb ? bbbbbb ? bbbbbb & bbbbbb
1. Scale Builder
2. Scale Express
& bbbbb ? bbbbbb ? bbbbbb & bbbbbb
3. Scale & Arpeggios
& bbbbb ? bbbbbb ? bbbbbb & bbbbbb
& bbbbbb
4. Scale Degrees & Thirds
& bbbbbb
& bbbbbb ? bbbbbb & bbbb & bbb & bbbb
& bbbb
& bbbbb
& bbbbb ? bbbbbb ? bbbbbb & bbbbbb
& bbbbbb
5. Two Octave Arpeggios
6. Broken Chords
& bbbbbb ? bbbbbb & bbbb & bbb & bbbb & bbbb
& bbbbb ? bbbbbb ? bbbbbb & bbbbbb
& bbbbbb
7. Scale Sequence 1
&
& bbbbb ? bbbbbb ? bbbbbb & bbbbbb
& bbbbbb
& bbbbbb ? bbbbbb & bbbb & bbb & bbbb & bbbb
& bbbbb
- 60 bpm (1'20")
- 80 bpm (1'00")
- 100 bpm (0'50")
8. Scale Sequence 2
Key of B
SLOW - 60 bpm (3'05")
- 90 bpm (2'05") FAST - 120 bpm (1'40")
1. Scale Builder
SLOW - 60 bpm (0'55") MEDIUM - 80 bpm (0'45")
FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
SLOW - 60 bpm (1'15")
- 80 bpm (1'00") FAST - 100 bpm (0'50")
7. Scale Sequence 1
Key of E
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
2. Scale Express
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
- 60 bpm (1'20")
- 80 bpm (1'00")
- 100 bpm (0'50")
Key of A
Key of A
1. Scale Builder
SLOW - 60 bpm (0'55") MEDIUM - 80 bpm (0'45")
FAST - 100 bpm (0'35")
2. Scale Express
4. Scale Degrees & Thirds
SLOW - 60 bpm (0'45") MEDIUM - 80 bpm (0'35") FAST - 100 bpm (0'30")
5. Two Octave Arpeggios
SLOW - 60 bpm (1'20")
- 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
Key of D
1. Scale Builder
(0'55")
- 80 bpm (0'45")
- 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
SLOW - 60 bpm (0'45") MEDIUM - 80 bpm (0'35")
FAST - 100 bpm (0'30")
5. Two Octave Arpeggios
SLOW - 60 bpm (1'20")
- 80 bpm (1'00")
- 100 bpm (0'50")
6. Broken Chords
7. Scale Sequence 1
- 60 bpm (1'20")
- 80 bpm (1'00")
Key of G
SLOW - 60 bpm (3'05") MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
Winds p. 50 | Mallets p. 74 | Pads p. 90 | Accessories p. 104
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6.
-
bpm (0'50")
Chords
SLOW - 60 bpm (1'15")
- 80 bpm (1'00") FAST - 100 bpm (0'50")
7. Scale Sequence 1
Chromatic Builder
Chromatic Builder in F Chromatic Builder in B b
Chromatic Builder in Bb
Chromatic Builder in F Chromatic Builder in B b
SLOW - 60 bpm (1'30")
- 90 bpm (1'05")
- 120 bpm (0'50") ULTRAFAST - 150 bpm (0'45")
Chromatic Builder in F
Fingering Charts
Where more than one fingering is presented, the first fingering is the most common.
( half hole closed)
Left F key (if available)
Where more than one fingering is presented, the first fingering is the most common. Optional
Image courtesy of Yamaha Corporation of America, Band and Orchestral Division
BASSOON
Half-hole closed
Quarter-hole open Open
Where more than one fingering is presented, the first fingering is the most common. Optional Closed
Image courtesy of Yamaha Corporation of America, Band and Orchestral Division
Back view (facing player)
Front view (facing out)
Bb CLARINET
Image courtesy of Yamaha Corporation of America, Band and Orchestral Division
Eb ALTO SAXOPHONE
Where more than one fingering is presented, the first fingering is the most common.
Image courtesy of Yamaha Corporation of America, Band and Orchestral Division
Octave key (behind)
Bb TENOR SAXOPHONE
Where more than one fingering is presented, the first fingering is the most common.
Image courtesy of Yamaha Corporation of America, Band and Orchestral Division
Closed
Open
Octave key (behind)
Eb BARITONE SAXOPHONE
Octave + low A key (behind)
Where more than one fingering is presented, the first fingering is the most common.
Closed
Open
Bb TRUMPET
Where more than one fingering is presented, the first fingering is the most common.
F HORN
(Double Horn only)
Single Horn:
• F Horn players use the upper (F) fingerings
• Bb Horn players use the lower (Bb) fingerings
Double Horn:
• The trigger key (T) allows double horn players to switch to the key of B Use the T key for Bb fingerings. Do NOT use the
• The preferred fingerings for double horn players are represented in the box.
*Ex. 1—preferred fingering for low C is the F Horn fingering
*Ex. 2—preferred fingering for low D is the Bb Horn fingering
A plus sign (+) indicates that the slide position may need to be lengthened slightly more than normal (e.g., a “long” 3rd position).
A minus sign (-)indicates that the slide position may need to be shortened slightly more than normal (e.g., a “short” 6th position).
Images courtesy of Yamaha Corporation of America, Band and Orchestral Division
EUPHONIUM/BARITONE (Bass Clef)
Where more than one fingering is presented, the first fingering is the most common. Four-valve fingerings are presented where applicable.
EUPHONIUM/BARITONE (Treble Clef)
Where more than one fingering is presented, the first fingering is the most common. Four-valve fingerings are presented where applicable.
Closed
Open
Four-valve fingerings are presented where applicable.
Scale Appendices
ONE OCTAVE SCALES & ARPEGGIOS
&
?
& bbbb & bbb & bbbb & bbbb
& bbbbb ? bbbbbb ? bbbbbb
&
?
& bbbb & bbb & bbbb & bbbb
& bbbbb ? bbbbbb ? bbbbbb & bbbbbb
Bb CHROMATIC SCALE - ONE OCTAVE
Bb CHROMATIC SCALE - TWO OCTAVES
F CHROMATIC SCALE - ONE OCTAVE
Bb CHROMATIC SCALE - TWO OCTAVES (Compound Time)
F CHROMATIC SCALE - TWO OCTAVES (Compound Time)