New Horizons Band of Summit and Stark Counties
Providing Life Enrichment Through Embracing Music
Connie has posted a graphic to reinforce the scale warmup that Bev introduced at the MAPS rehearsal on June 22, 2023.
These are the minor scales relative to the Major scale. The Natural Minor is based on the 6th degree of each Major scale. The Harmonic and Melodic minors are based on the Natural minor. The pattern is the same for all of the scales.
Submitted by Connie Stinnett
One day when we were off for weather, I sat around and looked at the relations between the sharps and flats. I was surprised to see so many mirrored patterns. Maybe someone else could see the wheel of 5ths more easily in this, too
| Number #b | Names #b | Positions #b | Key(s) |
|---|---|---|---|
| 7 # | F,C,G,D,A,E,B | 4,1,5,2,6,3,7. | C#M/A#m |
| 6 # | F,C,G,D,A,E | 1,5,2,6,3,7. | F#M/D#m |
| 5 # | F,C,G,D,A | 5,2,6,3,7. | BM/G#m |
| 4 # | F,C,G,D | 2,6,3,7. | EM/C#m |
| 3 # | F,C,G | 6,3,7. | AM/F#m |
| 2 # | F,C | 3,7 | DM/Bm |
| 1 # | F | 7 | GM/Em |
| 0 #b | CM/Am | ||
| 1 b | B | 4 | FM/Dm |
| 2 b | B,E | 1,4 | BbM/Gm |
| 3 b | B,E,A | 5,1,4 | EbM/Cm |
| 4 b | B,E,A,D | 2,5,1,4 | AbM/Fm |
| 5 b | B,E,A,D,G | 6,2,5,1,4 | Dbm/Bbm |
| 6 b | B,E,A,D,G,C | 3,6,2,5,1,4 | GbM/Ebm |
| 7 b | B,E,A,D,G,C,F. | 7,3,6,2,5,1,4 | CbM/Abm |
Submitted by Connie Stinnett
Low Rider by Clarence “Sonny” Henry 1967
All my friends know the low rider
The low rider is a little higher
Low rider drives a little slower
Low rider is a real goer
Low rider knows every street, yeah
Low rider is the one to meet, yeah
Low rider don’t use no gas now
Low rider don’t drive too fast
Take a little trip, take a little trip
Take a little trip and see
Take a little trip, take a little trip
Take a little trip with me
Evil Ways by Jerry Goldstein and War 1974
You’ve got to change your evil ways, baby
Before I stop lovin’ you
You’ve got to change, baby
And every word that I say is true
You got me runnin’ and hidin’ all over town
You got me sneakin’ and a-peepin’ and runnin’ you down
This can’t go on
Lord knows, you got to change, baby
Baby, when I come home, baby
My house is dark and my pots are cold
You hang around, baby
With Jean and Joan and-a who knows who
I’m gettin’ tired of waiting and fooling around
I’ll find somebody who won’t make me feel like a clown
This can’t go on
Lord knows, you got to change
Submitted by John K. Sederwall (Euphonium)
View a graphic flowchart of the seven steps to a super Sinatra.
Step 4). 132-138; TRANSITION INTO “Fly Me to the Moon”; Spring Tempo, quarter = 92
Flutes; Oboes; Bass Clarinets; Trumpets; Trombones; Baritones. Measure 138 – Tie eighth notes on first beat, and eighth notes on second beat creating two quarter notes on the first two beats of the measure. Honor the tied pick up note to one from the and of four in measure 137.
Clarinets – Connect the triplet figure with horns in measure 134 and 135 also accent beat two in each of those two measures. DO NOT play the first eighth note of beat three in 136. Change the half note on beat 3 of measure 137 to a quarter note and quarter rest on beat four.
Horns – Connect triplet figures with the clarinets in 134, 135, 136 by playing tied eighth notes with an accent and the half and whole notes softer.(like a sforzando).
Baritones and tuba – Emphasize eighth notes on 2 in 134 and 135. Emphasize beats 2 and 4 in 136. Only play the second eighth note of the fourth beat in measure 137.
Snare drum/ride cymbal – Add a rim knock on beat two of measure 134, 135, 136. Play the triplet fill on beat three on snare to cymbal crash on the and of four on ride cymbal. (Most important fill in tune).
Mark your music folks! I will be contacting you this week to set up small group sectionals on this tune on the internet. We have been experimenting the last couple of weeks and are very happy with the fun and success we have had with private lessons and small group meetings. We will be using the ZOOM platform. We ask that you download the free APP to your CELLPHONE. We have had far better connection and video/audio lick from phone to phone than computer to computer or phone to computer. Please watch for information on the “HOT NEWS” window or contact me directly @ 330.858.2045! I’m EXCITED!!!!!
JIM
March 18, 2020 Seven Steps to a Super Sinatra
Step 2). Measure 117-124 “THAT’S LIFE” Softer and Cooler than Step 1. This is a woodwind chorus blending flutes, oboe and clarinets playing the melody. Saxes join the brass in accompanying the woodwinds. Saxes pass triplet figure to trombones every other measure creating a continuous triplet rhythm pattern from 117 – 122. Everyone practice playing the skeletal rhythm of measures 123 and 124. Do this by only playing the pitches on beats 1,2,3,4 in measure 123 and 1,2 and 3 in measure 124. To create a crescendo from mp to f simply practice playing these seven beats as one phrase. When you can do that , add the rest of the notes around those solid pitches that are on the seven skeletal beats.
Step 3). Measures 125 – 131 “THAT’S LIFE” This third chorus is called “the take it home chorus” because it combines the full band making the final driving lyric statement of the tune to the audience. The trumpets change the rhythm of the “That’s Life”lick to match the same pick up lick as into measure 109. (Play the D quarter note on the fourth beat of 124 and the Bb as a quarter note squarely on one of 125. Sounds like “That’s Life” on four/one). Flutes, oboes, clarinets and saxes pick up the melody line from the trumpets on the second beat of measure 125, and pass it back to the trumpets on one of 126. Trumpets please diminuendo the half note in 126. Saxes play the fourth beat triplet figure forte and get off the tied eighth note on one of measure 127. Saxes please play the quarter notes on 2, 3 and 4 softer and get of the half note on the down beat of 128 on three. The trumpets and flutes have the melody with no grace notes please, releasing on one also in 128. Trumpets play the third beat without the tie to beat four. Replay the E as part of the triplet on four. Saxes do not play the grace notes in measure 130 on the fourth beat but please give it a slight accent. EVERYBODY IN THE BAND crescendo measure 131 and accent the eighth note on beat three. We will execute a GRAND PAUSE on the and of three. I will cue the trumpets who will play a triplet on beat four into an accented G whole note on beat one of measure 132. The new tempo is established by a RIDE BEAT starting on beat two and through measure 133. COOL MAN! Please mark your parts and practice, PRACTICE, PRACTICE!!
SEVEN STEPS TO A SUPER SINATRA
Simply MASTER one eight measure section per week. Each Monday I will add simplification, tips for counting and stylistic phrasing. MARK THEM IN YOUR PARTS! PRACTICE THEM!! Don’t try to eat the whole pie at once. Let’s enjoy it in seven really delicious and very cool pieces!
STEP 1). Measures 105 – 108 “THAT’S LIFE”
This is our April 27th intro to this medley. Listen to bass line; flute triplet rallentando in measure 107 AND THE TRIPLET DRUM FILL starting on beat 2 of measure108.
Measure 109 – 116
BASS AND TUBAS only play the eighth notes and quarter notes that are on the beat (no triplets).
TRUMPETS – play the D quarter note on four as a quarter not part of a triplet and play the Bb as the down beat of 109. Also practice playing only the quarter notes on beats 2,3,4 in 111; 2&3 in measure 112, and 1,2,3,4 in measure 113. (NO EIGHTHS for now).
SAXOPHONES – Practice playing only the pitches that are on the beat (no eighth notes unless they are the first third of a triplet) in measures 114 (beats 2,3 4) and 115 (1,3,4).
Everyone else listen for the triplet drum fill on beats 3 and 4 in measure 116 and mark in a diminuendo into beat four.
| Group 1 | Group 2 | Group 3 |
| 1 3 5 3 1 | 1 2 3 1 | 3 4 5 1 |
| 5 3 1 5 | 1 2 3 5 1 | 3 4 5 3 8 |
| 8 5 3 1 | 3 2 1 3 5 | 3 4 5 1 3 |
| 8 5 3 5 1 | 1 2 3 1 3 5 8 | 3 4 5 1 5 |
| 3 5 8 5 3 | 1 2 3 1 5 1 | 3 4 5 8 3 |
| 5 8 5 3 1 | 5 8 5 3 2 3 | 5 4 3 5 1 |
| End of post |
Thanks, Tom (clarinet) for your work on this post.
