The TradiTion Of ExcEllEncE - Kjos.vo.llnwd
how theTradition of Excellenceband method addresses each ofthe grade 5–8 national standardsContained in this booklet are just a few of the many exercises includedin the Tradition of Excellence band method designed to help thestudent meet and surpass each of the grade 5 –8 National Standards. 2011 Neil A. Kjos Music Company
2ABOUT THE AUTHORSBruce Pearson grew up in Bloomington, Minnesota. He has taughtat the elementary, junior high, high school, and college levels for over 40years. In December of 1998, Dr. Pearson was awarded the prestigiousMidwest Clinic Medal of Honor in recognition of his outstandingcontributions to music education. In 2007, he was the recipient of theDistinguished Alumni award at St. Cloud State University. Also in 2007,he was recognized as the first Patron for the Maryborough Conference inQueensland, Australia. Dr. Pearson continues to serve as a guest lecturer,clinician, and conductor in addition to his work as a composer, arranger,and author.Dr. Pearson and his wife, Dee, presently live in Elk River, Minnesota—a partof the Minneapolis-St. Paul metropolitan area.Ryan Nowlin, a native of Cleveland, Ohio, holds both his Bachelor of Musicand Master of Music degrees from Bowling Green State University (Ohio).He has taught for ten years at the beginning, middle school, high school, andcollege levels, including wind ensemble, jazz ensemble, and marching banddirection. Mr. Nowlin was an instructor of conducting and band scoring atBGSU and was recently recognized as one of the university’s AccomplishedGraduates. In 2010, Mr. Nowlin joined “The President’s Own” United StatesMarine Band, where he currently serves as staff arranger.This work presented by the publisher has been prepared by Ryan Nowlin in an unofficial capacityand neither “The President’s Own” United States Marine Band, the U.S. Marine Corps, nor any othercomponent of the Department of Defense or the U.S. Government has endorsed this material.NN1112B
NATIONAL STANDARDS FOR ARTS EDUCATION: MUSIC3What every young American should know and be able to do in musicGrades 5 – 8Each musicianship standard that is addressed by the exercise is identified above the exercise.1. Content Standard: Singing, alone and with others, a varied repertoire of musicAchievement Standardsa. sing accurately and with good breath control throughout their singing ranges,alone and in small and large ensembles.Interactive Teacher Studio Book 1, page 64Singing is critical to the complete development of instrumental music students, and should be a part of training from thevery beginning. Singing helps to develop their audiation skills—that is, for the students to be able to hear the music beforethey play it. A good vocal warm-up is essential at the start of any lesson that includes singing. Employ warm-ups such as theone below that relax the voice and promote good vocal health.BASIC WARM-UP FOR SINGINGLoosen up: Have students shake out their arms and legs to release tension in their muscles.Establish posture: Tell students to stand/sit up straight as if an invisible string attached to the top of their heads isholding them up.Develop breathing: Have students take a breath without lifting their shoulders. Then, while keeping a steady beat, havethem push out the air using a continuous “sss” or “fff ” sound, telling them to make sure all of the air is exhaled by the timeeight counts have passed. Repeat, varying number of counts. Rhythmic sizzling (for example, vocalizing “sss” in a series ofquarter note bursts) can also be used when expelling the air. For more detailed information on breathing development, seeTeaching Band With Excellence, pages 32-33.Warm-up and relax the voice: Create an exercise using three or four notes in a stepwise pattern. Sing the exercise on “ah” or “oo” and havestudents echo you. Start in the middle register, then repeat the exercise a few more times, starting the exercise a halfstep higher or lower each time. Sing a note using “ah” or “oo,” slide up to a note a fifth above it, then slide back down again. Have students echo you.Move up and down by half steps. Tell students to try to feel their voice singing all of the pitches in between thebeginning and ending notes. Have students vocalize siren-like sounds that sweep from low to high and back to low. Use the syllable “woo” andhave students accompany the sweep of sound with an arm gesture that matches the pitch contour. Begin in themiddle register at a low volume, increasing the range and volume as the warm-up progresses.B b Clarinet Book 2, page 313. Excellence in TheoryAintervalPlay and sing the following intervals.& œ œ œ œ œ œ œœ œ œ œ œ œ œ 2nd3rd4th5th6th7thoctave(8th)NN1112B
4b. sing with expression and technical accuracy music representing diversegenres and cultures, with expression appropriate for the work being performedConductor Score Book 1, page 13140. San Serení — TestStudent page 11131Written assessments are also a valuable way to evaluate studentprogress. Assess students’ understanding of concepts introducedby having them complete the Tradition of Excellence Quiz 2available on score page 147. Students are prepared for this quizafter completing page 13.The quiz and answer key are also available in the InteractiveTeacher Studio.San Serení is pronounced “sahn seh-reh-NEE.”40. San SereníFl.Ob.B Cl.B B. Cl.E A. Sax.E B. Sax.B T. Sax.B Tpt.Bar. TCF Hn.Trb.Bar. BCBsn.TubaMlts.S. Cym.b 2 &b 4& TESTœœ42 Se - reœœ 42œœSan- œœnídela œœ œœœPuerto Rican Folk Songœbue - na,œœœœœ bue - naviœœœœœ -- # 2 4&42 œœ œœœœœœ œœ œœœœœœ &2&b 4? b b 42 ? b b 42 b 2&b 4 ã24 ¿Lœœ¿with S.D. stick24 œ œRœœœ¿¿O ¿¿¿œœLœœœœAccomp.b7FOR HORNS ONLY24 œœF Bb 2 2& b 4 œj ‰ ‰ œj œj ‰œœ œj? b b 42 .œ œœ œ œ ‰2&œ ã4 œœS.D.B.D.BbœœLœ œœ Rœ zBbœLœzj‰ j‰ ‰œœœœj ‰ œ. œœœF7œ RœœF7 B bœŒœjj‰œœ œœj ‰ œœj‰ j‰œ œ œœF7œœRœ œœœœœœœœ¿¿¿œLœEbj‰ ‰ jœœœœœ œœ. œ5œœœœRœR OO Rœœj‰œœj‰œj‰ j‰ ‰œœœœj‰œ. œ œœœ1œ ,,, œœCmi, L, œ z, ,da,&œ, œzL j j‰ j‰œ œ œœ œ œj jœ œ ‰ œ ‰ ,W61FNN1112B
5b. sing with expression . . . continued from page 4Conductor Score Book 1, page 11231. Camptown Races112Lesson PlanInteractive Teacher StudioMusicianshipStandardsTradition of Excellence QuizScore page 1471. Singing2. Performing6. Listening & Analyzing7. EvaluatingStudent TextDraw the missing notes in the ovals before you play.History: Stephen Foster, America’s first great popularsongwriter, was born on the 50th anniversary ofAmerican Independence: the Fourth of July, 1826.31. Camptown RacesB Cl.B B. Cl.&&c œE A. Sax.E B. Sax.&B T. Sax.&B Tpt.Bar. TCF Hn.Trb.Bar. BCBsn.TubaMlts.Accomp.œc&Solo/SoliCamp - townSolo/SolicœSolo/Solic œSolo/Solic œ?c&œSolo/Solic œ œ&?œSolo/SoliœœœSolo/Solic œ œSolo/Soliœc œSolo/SoliBbœœb&b c ‰œœla - diesœœœœœœœœœœœœœœœœ‰œ ‰ œ œ ‰ œœ œ œ œ? bb c œ ‰ ‰ œ ‰ ‰œœ2FOR HORNS ONLY&c œSolo/Soliœœœœœ singthissong,œœœœœœœœœœœœœœœœ‰ œ,,œTutti Doo - dah,Tuttiœ,Tutti ,Tuttiœ œ,Tutti,,, œTutti œ œTutti TuttiœTutti ŒŒStephen Foster (1826–1864)American ComposerDoo - dah,‘‘Œ‘Œ‘Œ‘Œ‘Œ‘Œ‘Œ‘ œ‰‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ œ œ œœ œ œ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œœ ‰ œ œ ‰ œœ œ œ œœ ‰ œ ‰ œ ‰ œ ‰œTeaching Band with ExcellenceTopic pp. 000-0003. Improvising4. Composing & Arranging5. Reading & Notating8. Interdisciplinary Relationships9. Historical & Cultural RelationshipsObjectives for Student LearningIdentify, defi ne, and perform a one-measure repeat sign.Aurally identify and notate pitches and rhythms.Locate the United States on a world map and shareinformation about this country.Share information about Stephen Foster.Perform with lyrics and share information aboutCamptown Races.Discuss the history fact and defi ne popular music.Fl.Ob.Student page 10Excellence in TheoryTheory Concepts pp. 000-000 Cmi,Cmi/FTuttiœ ŒF7‘W61FNN1112B
6b. sing with expression . . . continued from page 5Conductor Score Book 1, page 284b œ.& b b 42pAllegroFl.Ob.œ œ.Joœ.œ œ œ œ œ.oœ.oOrchestration:B Cl.B B. Cl.E A. Sax.E B. Sax.B T. Sax.& b 42A-œ.p& 42 œ .p2& b 4 œ.p& b 42 œ .pb 2b& 4œ.p? b 2 œ.bb 4p? bb 24b œ.pAllegrob& b b 42 œ .pAllegroB Tpt.Bar. TCF Hn.Trb.Bar. BCBsn.TubaMlts.blou - et - te,jœ œ.œ œ.Jjœ œ.jœ œ.jœ œ.œ œ.Jjœ œ.jœ œœ.œ.œ œ œ œ œ.œ.œ.œ œ œ œ œ.œ.œ œ œ œ œ.œ.œ œ œ œ œ.œ.œ.œ œ œ œ œ.œ œ œ œ œ.œ.œ œ œ œ œ.œœ œ œ œ œb7AllegroAccomp.gen-tille a - lou - et - te,œ.Aœ.œ.NN1112Bjœ œ.œ.œ œ œ œ œ.lou - et - te,jœ œ.œ œ.Jœ.œ.jœ œ.œ.œ.œ.œœ.œ.œ.2& b 42 œ .p-œ.BEb E& b b 42 ‰ œj œj ‰ ‰ œj œj ‰ ‰ œj œj ‰ ‰ œj œj ‰ ‰œ œœ œœ œp œ œ? b b 2 œ ‰ ‰ œj œ ‰ ‰ œ œj ‰ ‰ œj œ ‰ ‰ œj œb 4JJJJJF/E b HORNS ONLYAllegrooœ.œ.œ œ œ œ o,Fineojœ œ.œ.bœ œ.Jœ.œ.jœ œ.œ œ.Jjœ œ.jœ œ,je te plu-me - rai.œ.œ.œ œ œ œ œ.œ œ œ œ ,œ œ œ œ œ.œ œ œ œ œ.œ.œ œ œ œ œ.œ œ œ œ œœ œ œ œ ,,Fine,,œ œ œ œ B b7E bB b7E b,FineFinej jj jjœ œ ‰ ‰ œ œ ‰ ‰ œj œj ‰ œ œ œ ‰œœœœ œœ œœ œjjjœœ‰ ‰ œ J ‰ ‰ J œ ‰ ‰ œ œ œ œJ ‰jœ œ.œ.œ œ œ œ ,Fine
2. Content Standard: Performing on instruments, alone and with others, avaried repertoire of music7Achievement Standardsa. perform on at least one instrument accurately and independently, alone and insmall and large ensembles, with good posture, good playing position and goodbreath, bow or stick controlConductor Score Book 1, page 22Clarinet Lesson22Student pages 2–4Teaching Band with ExcellenceTopic pp.Lesson PlanInteractive Teacher StudioMusicianshipStandards1. Singing2. Performing3. Improvising4. Composing & Arranging5. Reading & Notating6. Listening & Analyzing7. Evaluating8. Interdisciplinary Relationships9. Historical & Cultural RelationshipsClarinet ChecklistSitt ing up straight?Clarinet in center of body with bell near knees?Clarinet at correct angle?Right and left thumbs correctly placed?Fingers gently curved?Wrists straight?Elbows away from body?Head erect?Mouthpiece proper distance in mouth?Top teeth resting directly on mouthpiece?Chin flat and pointed?Equal pressure on all sides of mouthpiece?Breathing correctly?Good tone produced?Check tone production by using just the mouthpiece and barrel.Correct Concert pitch:F sharp (F #)&#wClarinet video lessons feature April Leslie.W61FNN1112B
Mlts.8b& b b 42 œ .pjœ œ œœ œ œ œ œ œOrchestration:bbb&œ œ œ œ a. perform on at least one instrument . . . continued from page 7œ œ œœ œ œ œFPercussion Book 1, page 26 cont. (105)Mlts.jœ œ œœ.œ œ œ œœ œ œœ œ œfœ œœ œ œD.C. al Fineœ œ105. Ronde TESTTielman Susato was a Renaissance composer, trumpet player,and music publisher. He wrote mostly dance music, including Ronde.b& b b 42 œœ œœ œœ œœ .Fjœ œ œ œ œModeratoMlts.S.D.B.D. œœ œœ œœf&43 # æ.FModeratosnare drum roll,Nine Stroke Roll(Quarter NoteRoll)S.D.ã43 Oæ.p.Rigaudon OboeMASTERING EXCELLENCE: Mallets p. 38, #4Moderato 2 342 4ã4 œ œ œ œ œ œ 5œ bœ œ œf& b œ. œ.f1 œ œ œ œ œ œœæ œœ œ œ6œ.œ. played:.f 4Rœ #œ nœ# œ. n œ. œ œb œ. œ œ œ œ œœ&bb& b . .? b b # œ. n œœb&b 14b& b # œœ. œœ. ? b œ. œ œ œ œœ œb12115 . .œœœœ .œœ œ . œ œ. œ. œ œ# œ. œ œ œ œ œ œœœ 174 12œœœ œ. œ œ œœ.2 œ #œ nœplayed:œ Lœ .œ œ .LRz z z zLR LM ASTERINGEXCELLENCE: Drums p. 39, #5.œ .œ #œ nœ 31œ Lœ œ œ œ œ œœæ œœ. œ. œ œ œ13œ. 9121ww12œ. œœ . # œ œ ,œ. # j 12œ w116œ.œ Œœ.œœœ œ œ #œ.œœ811œœ# œœœ.œ œ R L .Rœ. œ. œ œ110 œœœœœ œœœœœ œœ œ7L.& b Timpani# œœTradition of ExcellenceœMini-Method. . .? bb 1z z z zTo learn about timpanirolls, refer to page 7 of thebœ.œœ.œœ # œœ œnœœ #œ œ1842 œ œ œ œ œ œ œ# # œ. n œ1œ 2010 Kjos Music Press. Pages 36-37 are authorized for duplication to meet specific requirements for festivals, contests, and competitions.An additional photocopy may be distributed to an accompanist. All copies must be destroyed after the event.NN1112BO.Georg Philipp Telemann (1681–1767)German ComposerArr. Bruce Pearson and Ryan Nowlin34jœ œ bœ œ œ œ œ œ œœ. œ. œ œ œ œ #œ. œ w# wf which hand(s)Stickings that appear above( begin and end the roll.Piano a roll tell you.R L R L R R L R L R? b R4 L R L œR # œ Rn œ # œ n œ R œ L œR L Rœ L œ L œR œL R Lœ œ. L R L R Lb 4 5zzzzzzzzb106. Drums Private Lesson& b 44.sound of the cymbal. Striking too often may deadenthe sound.S. Cym.Solo with Piano Accompanimentb& b 44LAlternate only as fast as necessary to sustain thehR igaudon is a French dance in duple meter that was popular during the 17th and 18thcenturies. Unlike many composers of his time, Telemann did not come from a musical family. .R106. Aux. Percussion Private Lessonsound quality. Play a single stroke at the end of theroll as shown by the note attached to the tie.SOLOMlts.œœ œ œ œ œ LRR L R L R L RL RLL RR R L L R L R L L R Lsnares offjj jã42 œœ œœ œ œœ . œ œ œœ œ œœ œ œœ œ œ œ œ œœ œœ œ œ œœ œ œœ œœ œ œœ œœ œ Ff106. Mallets Private LessonAdjustmallet Book 1, pageOboe36 the speed of the roll strokes to get the bestpercussion roll,suspendedcymbal rollTielman Susato (c. 1500–c. 1562)Flemish (Belgian) ComposerœW61PR
9a. perform on at least one instrument . . . continued from page 8Percussion Book 1, page 33ENSEMBLE33The term “military band” was historically used to designate an instrumental ensemble made up of woodwinds, brass, and percussion, much like today’s concert band.Ecossaise for Military Band was originally written by Beethoven in 1810 for this type of ensemble. The work is a contradance, a lively dance-inspired composition in 42 .In a contradance, couples faced each other in two lines. It was a Classical Period predecessor to more modern forms such as square dancing.Solo: Mlts. A Duet: Mlts. A B Trio: Mlts. A B CPercussion Ensemble or Full Band: All Percussion Parts (cont. next page)Ecossaise for Military Band1st x fi rst time through. 2nd x second time through.Introduction234b A.2jb& 4 œ . œ ‘ œ œ œ œ Œ . œ œ œ œ 1st x Ff2nd x PB.b2Œ .&b 4j ‘œœœœ.œ œœ œœ œ 1st x Ff2nd x Pbb C.2 ŒŒ .& 4 œ‘œœœœœ œ f1st x F2nd x PModeratoMlts.Mlts.Mlts.5 1st ThemeMlts.Mlts.b&b20Mlts.Mlts.Mlts.6œœœ œœœœœœœ œœœœ 789œœœ œœœœ œœœ œœœœ œœœ œ œœ œœ1112141516171819b A.œ. .b&œ œ œ œ œ œ nœ œ œ . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1st x F2nd x PB.b. .&b œœœ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1st x F2nd x Pb C. . ŒŒ œ Œb&œœ Œ œœœœœœœœœ œœ 1st x F2nd x P13 2nd Theme10Mlts.Ludwig van Beethoven (1770–1827)German Composerarr. Bruce Pearsonb&bb&bA.B.C.œœœœ œœœ œœœœ œœœ œœœœ œœœ œœœœœœ œœ œ F21 1st Theme 22œœœ œœ .232425262728œœœœ œœœ œœœœ œœœ œœœœ œœœ œœœœ œ œ Fœ œFœœœ œ œœ œœœœœ œ œ W61PRNN1112B
10a. perform on at least one instrument . . . continued from page 9Conductor Score 1, page 210Procession from "Water Music"210Student page 20Student TextHistory: Water Music was written for a royal boat part on England’s Thames River. The orchestra played from one bargewhile King George I and fr iends listened from another vessel close by.All except percussion: In 2/4, 3/4, and other time signatures, «insert whole rest» indicates a full measure of rest.ProcessionGeorge Frideric Handel (1685–1759)English Composerarr. Ryan Nowlinfrom “Water Music”IntroductionFluteOboeB ClarinetB BassClarinetBassoonE AltoSaxophoneB TenorSaxophoneE BaritoneSaxophoneB TrumpetF nW61FNN1112BModeratob 3& b 4 œ œ œ œfb 3 œ œ œ œb& 4f34&œ œ œ œf3& 4 œ œ œ œf? b b 43 œ œ œ œf# 3& 4 œ œ œ œf34 œ œ œ œ&f# 3& 4 œ œ œ œfModerato& 43 œ œ œ œf3& b 4 œ œ œ œf? b b 43 œ œ œ œf? b b 43 œ œ œ œf? b b 43œ œ œ œfModeratob 3& b 4œ œ œ œfãz z z z43 œ œ œ œœ œfModeratob& b 43œ œœœf? b b 43 œ œ œ œ2œ œ œ œ3 œ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ 4 . . . . . . . . . . . .œ œ œ œœ œ œ œ . œ œ œ œœ œ œ œ . ‘‘, 5 1st Theme6. œ œ œ œ œ œF,. œ œ œ œ œ œF,.œ œ œ œ œ œF,.œ œ œ F,. œ œ œ F,. œ œ œ œ œ œ,,, 5,,,,5F. œ œ œF. œ œ œF.œ œ œF. œ œ œF. œ œ œF. œ œ œF.œ œ œF. œœ œ œœ œœ œ . œ œjœ œ.F5œœ œœ œœ œœ œœ œœ œœ œœ . .œ œ œœ œ œ œœ .œ œ 7œ œ œœ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œœœœ œ œœ œ œœ œ œ œ œœ œ œ œ œ œ œ œ 8œœœ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ, œ œ œ œœ œ œ œœ œ œ œœ œ œ œ,œœœ œ œ œœ œ œ ,œœ œ œ œœ Œ œ œ œ œ Œ œjœ œ .œ œ œ,,,,œ ,œ,œ ,, Œ œ œ œ œ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœF œ. œ œ œ œ œ œ œ,,
11b. perform with expression and technical accuracy varied repertoire of instrumentalliterature with a difficulty of 3, on a scale 1 to 6, including some solos performedfrom memorySOLOB b Clarinet Book 2, page 20—Enter the stage or performance area confidently. Make eye contact with the audience and smile.—Stand or sit tall. Be positive and energetic. It’s fun to share your music with others!Concert EtiquetteHunting SongSolo with Piano Accompaniment& b 42 Andante (q 66)B b Clarinet 2Piano235%œb& . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ5764b b % . 1j ‰b.œ&œ? b . œbb J2‰&b œ œœœ œTo Coda10b&bb œœœœ œœ &‰œJfiTo Coda fi? bb œ œ œ œb15jœœ‰1.11œf‰ œj œ œœœ œœ œœ‰ œj œ œjœœœjœœœœ .œœ.œ.2jœn œ œœfœ œJ16jœœjœ j ‰ . œœœœ œœ œœ œœFj ‰ . œœ œ œ2.17 182# œœœœœœ8œ‰ Jœ9œ œœœ œœŒ‰ jœFœ œ œ œ2Œ14# œœ œnœœœœœœœœj‰œœ œœœ . n œœ. #œ œ œ œ 19jœ ‰œ. p.œ2 .1œ œn1j j n bbœœ œœ Pbjœ ‰ nb ‰ j . œ # œ “ œœœpjœœ œ œ ‰#œJœœœœ œœœ œœœ 13bœ& b œ “ œ œ œ œ œ œ œ œ œ # œ œ { œ œœ œœ œœœ? b b œœ42.,œ.#œ #œ œ œ œ J j . œ nœ œ œ œ #œ œ.œF f121. 3jœ œ œ œ œ œ œœ œœ œœ œ œ œœ œœ œœ œœ ‰œ œ œ œ œ œ œœ œ œ œ œœ œ œ ‰J1 2 11b 2 1&bb4œ œ œ œ œ œ œ œFœ œ œ œœ œ? b b 42 œ œbAndante (q 66)Ryan Nowlin (b. 1978)American Composer œ œ.œ œœ œ œ 2010 Neil A. Kjos Music Company. Pages 20 and 21 are authorized for duplication to meet specific requirements for festivals, contests, and competitions.An additional photocopy may be distributed to an accompanist. All copies must be destroyed after the event.NN1112B
12b. perform with expression . . . continued from page 11B b Clarinet Book 2, page 374&4Bossa CaribeModerato6&œœ .11& “œœ-j bœ& œ- œœ‰‰jjœœ œœ œœ œœ œœ œœ . œœ œœ œ œœ œœ œœ œœ. - - - . . - . . F97 j œj 8 wj œ œ œ œ œ œ“œœœ œœ - œ œ- œ- œ- œ. # œ wœ. pfdiv.23œœ œœ ‰ œœ b œœj œœ . b œœj œœ œœ- . . . - -1612jœœ & œ . œj œœ . b œ. œ20œœP-œœ-b b œœ-%j j j26œ& œ ‰b œ ‰ œ ‰“ œ œ Œ Óœ- œ. œ. œ. œ- œ.Pœœ- œœ.25& ww31div. œ&œ Œ Ó4152&32 # œœ . f42-46j œœœ . œœ œœ . -j.œ œ œ œ œ&œ œ œ œ œ- - . ƒ57NN1112B œœf œœJÍdiv.532733 -375.47 -47jœœ œœ œœ œœ- - - .58wwœb b œ-18j‰œœ œœ œœ # œœ œœ .- . 172113‰œœ.j 22œ ẇœ œœ- œœ.‰jjœœ œœ . œœ œœ œ. - 4j# œœ œœ. -2. .œœ2328œ b œ ‰ œj ‰ œj ‰ jŒ Óœ b œœœ- œ. œ. œ. œ- .To Coda fi 53839# œœ œœ œ. œƒf Í5‰jœœ œœ œœ œœ œœ. 10jj‰œ œ œœ- œ. œ. # œœ œœ . # œœ. œœ- œœ j 14œ œ ẇœ. œ “ Bruce Pearson (b. 1942)American Composerarr. Ryan Nowlinww1915“ “ œœ24Ówwœœ œœ ‰ œœ b œœj- . #œ œ bœ œ funis.30b œ œ ‰ œj ‰ œj ‰ j œ Œ œ œ œœœ- œ. œ. œ. œ- œ. # œ- . œ œ œ œ œœ 40 œœ œ œ œ œ œ œœœœœœœœ- œ- œJ œ J29.‰ j‰jœœ œœ œœ œœ œœ œœ . œœ œœ œ œœ œœ œœ œœ-. . . - - -. .P D.S. al Codafi 55- œ. œ 56 wj 54œœœœ& œ œ œ œ œ Jœ w# œœ œœ Œ n œ œ b œœ œ--J ŒƒÍ - . œ œ59œ œ œ œ œ œ 60 œ œœ œ œ œ œ œ 61 œ Œ Óœ œ œ œ œ œœ œ- œ- œJ œ Jƒ495051jœœ
13b. perform with expression . . . continued from page 12Conductor Score Book 2, first score page Rain DanceRain DanceFluteOboeB b Cl. div.œb 4 œ&b 4fb 4 œb& 4fdiv.44 œœ&E b A. Cl.&# 44B b B. Cl.&44Bsn.E b A. Sax.B b T. Sax.E b B. Sax.B b Tpt./Cor.f&&bTrb.? bbBar./Euph. BC? bbE. BassBellsœ fœ f? b b 44 œf œ# 4 œdiv.& 4f 44 œ&f# 4 & 4 œF Hn.BB b Tubafdiv.44 œœf44 œ f44 œf44 œ? b b 44fœ f ? b b 44 œfb 4 & b 4 œœfSnare DrumBass DrumãCrash Cymbals,Suspended Cymbal,Maracasã44 œœf œ œ œ œœ œ œ œ œ œ œ œŒ œ œ œ œœ œ œ œ Œœ œœ œœ œŒŒ œ œ œ œ Œ œ œ œ œœ œ œ œ Œœ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œœ œŒœ œ Œ œ œ œ œœ œ œ œ Œ . 3 œpf œœfp .Œ # p .Œ Œœ œ Œ œ œ œ œœ œŒŒœ œ œ œ œ œ œ œ Œœ œ2Œœ œ œ œ f œœ f# . pœ.f . p .Œ œf œp .Œ # .p# .Œp .Œ f œfœ.pf Œ # .pœ fŒ . p Œ # .p .Œ œ f œŒ . p .Œ œ.fœ.
how the TradiTion of ExcEllEncE band method addresses each of the grade 5–8 national standards Contained in this booklet are just a few of the many exercises included in the Tradition of Excellence band method designed to help the student meet and surpass each of the grade 5–8 National Standards.
Silat is a combative art of self-defense and survival rooted from Matay archipelago. It was traced at thé early of Langkasuka Kingdom (2nd century CE) till thé reign of Melaka (Malaysia) Sultanate era (13th century). Silat has now evolved to become part of social culture and tradition with thé appearance of a fine physical and spiritual .
May 02, 2018 · D. Program Evaluation ͟The organization has provided a description of the framework for how each program will be evaluated. The framework should include all the elements below: ͟The evaluation methods are cost-effective for the organization ͟Quantitative and qualitative data is being collected (at Basics tier, data collection must have begun)
On an exceptional basis, Member States may request UNESCO to provide thé candidates with access to thé platform so they can complète thé form by themselves. Thèse requests must be addressed to esd rize unesco. or by 15 A ril 2021 UNESCO will provide thé nomineewith accessto thé platform via their émail address.
̶The leading indicator of employee engagement is based on the quality of the relationship between employee and supervisor Empower your managers! ̶Help them understand the impact on the organization ̶Share important changes, plan options, tasks, and deadlines ̶Provide key messages and talking points ̶Prepare them to answer employee questions
Dr. Sunita Bharatwal** Dr. Pawan Garga*** Abstract Customer satisfaction is derived from thè functionalities and values, a product or Service can provide. The current study aims to segregate thè dimensions of ordine Service quality and gather insights on its impact on web shopping. The trends of purchases have
Chính Văn.- Còn đức Thế tôn thì tuệ giác cực kỳ trong sạch 8: hiện hành bất nhị 9, đạt đến vô tướng 10, đứng vào chỗ đứng của các đức Thế tôn 11, thể hiện tính bình đẳng của các Ngài, đến chỗ không còn chướng ngại 12, giáo pháp không thể khuynh đảo, tâm thức không bị cản trở, cái được
201 Piccolo Solo C Turkish March Bruce Pearson Kjos - Standard Of Excellence Standard of Excellence 201 Piccolo Solo - Class D 201 Piccolo Solo D Air Gracile Dvorak/Johnson Rubank 201 Piccolo Solo D Andante F.J. Haydn/Moyse G. Shirmer 201 Piccolo Solo D Canzona Guenther Alfred 201 Piccolo Solo D Celebrated Gavotte Martini/Buchtel Kjos
The asynchronous design use the “web hooks” approach using two independent "one-way" invocations - one to start a long-running operation (Client to ESC) and the other one to notify a requester that it is completed (ESC to client) ESC REST API Headers/Path/Body Parameters Callbacks. One of the header parameters of the operation request will contain a callback field, whose value is a URI .
