THE TREASURY OF SCALES FOR BAND BY LEONARD B. SMITH, ascaP INSTRUMENTATION Conductor C Flute and Piccolo 8rd Bb Cornet Db Piccolo Ist F Horn Oboe and F Horn Bassoon 3rd F Horn Eb Clarinet 4th F Horn 1st Bb Clarinet Ast Eb Horn 2nd Bb Clarinet 2nd Eb Horn 3rd Bb Clarinet 3rd Eb Horn Eb Alto Clarinet 4th Eb Horn Bb Bass Clarinet Baritone 6 Ist Eb Alto Saxophone Baritone % 2nd Eb Alto Saxophone Ist Trombone Bb Tenor Saxophone 2nd Trombone Eb Baritone Saxophone 3rd Trombone Ist Bb Cornet Basses 2nd Bb Cornet String Bass Percussion (Bells, Timpany and Drums) © 1982 (Renewed 1960) Belwin Mile Publishing Corp, (ASCAP) 11868TO HELEN SUGGESTED LESSON PLANS FOR PROCEDURE PLAN A, For immediate use by ELEMENTARY ORCHESTRAS, the following TREAS- URY OF SCALES studies are recommended to be played in this order: Numbers: 11, 12, 13, 14, 15, 19, 20, 29, 30, 38, 46, 53, 68, 69, 73, 76, 77, 80, 81, 82, 85, 91, 92, 96 (When theve are mastered, proceed to introduce thote in Intermediate group) For INTERMEDIATE ORCHESTRAS, the following TREASURY OF SCALES studies can be added to the foregoing group: Numbers: 1, 5, 9, 22, 24, 26, 27, 34, 39, 42, 45, 47, ‘50, 52, $6, 57,59, 62, 66, 75, 78, 79, 87, 90 (When these are mastered, proceed to introduce those in Advanced group) For ADVANCED ORCHESTRAS, all remaining TREASURY OF SCALES studies can be added to those in the foregoing two groups. ‘Aftar all 96 are well under control, it is suggested that every rehearsal period commence with the playing of « selected group of from 4 to 6 TREASURY OF SCALES studien, in order to \nqure and maintain the al-kay protection. In this manner, they also serve ss warma-op materiel (functioning as chorales) and as a means for strengthening intonation and ensemble precision. SUGGESTED LESSON PLANS FOR PROCEDURE PLAN, Uf, for example, you wish to rehearse a composition having a 3# key signature, it'ia suggested that you precede this composition with the playing of TREAS- URY OF SCALES studies Numbers: 6, 7, 16, 25, 51, 70, 86, 93. By doing s0, you give your orchestra the opportunity to first hear and play the hharmonizations of the A Major scale four times, and its relative Minor (the F# Minor scale) four times. Thus, the tonality of and familiarity with the 3# key signature is firmly imbedded in the minds of the players — before commencing the actual rehearsal of the composition scheduled. See Chart on Page 6 for COMPLETE Key-Index Printed in the United States of America Library of Congress Catalog Card number: $21FOREWORD thas been said that versatility is often the result of kaleidoscopic living plus, of course, the ability to remember what one has observed. For example, take Leonard Smith, the author of this treatise on scales. His qualifications for the writing of such a treatise are exceptional. He is one of few musicians possessing a firm background as instru- mentalist, conductor, composer, arranger and educator. His experiences in the instrumental field include six years as cornet soloist with the Goldman Band, six years as first trumpeter with the Detroit Symphony Orchestra besides numerous network radio and television programs. As conductor, he directs the band that bears his name, also the Belle Isle Concert Band and the Moslem Temple AAONMS Band. He is principal conductor for the Detroit Municipal Opera. He has taught at Wayne University, was Director of Bands at the University of Detroit and has lectured in more than twenty colleges and universities throughout the nation. His compo- sitions and arrangements are represented in six publishing houses. He is a writermember of the American Society of Composers, Authors and Publishers (ASCAP). ‘The Treasury of Scales reflects a studied and experienced insight into the practical problems confronting all players, both young and old. His treatise should prove to be invaluable for it is, by far, the most compre- hensive collection of its kind in existence. The structure of the work is designed in simplicity in order to give authoritative help in the most ex- pedient manner. This is the way Leonard Smith has trained his own bands—and their performances are greeted with acclaim everywhere. The adoption of this ‘means of training other bands will be of inestimable value toward assuring their constant improvement. ‘That it can likewise become a handy reference guide for composers is additional recommendation for its use. LEONARD V. MERETTA, Director of Bands, Western Michigan College of EducationPREFACE In my opinion, scale mastery is the basis and only lasting foundation for true musicianship. Since many of the student's difficulties in sight- reading, eartraining and technical proficiency stem directly from his lack of familiarity with all of the scales, both major and minor, it follows that the principle is wrong which places demands upon the performer in excess of his ability. Such an inability on the part of the individual performer reflects upon and shackles the ability of any ensemble. It is therefore essential that the performer possess complete knowledge and mastery of the tools with which he works before the artistic approach can begin. There does not seem to be any indication that composers did, do or will choose key signatures merely for the sake of convenience for players. The exploitation of many keys, arising from modulation, compels the player to be thoroughly equipped to perform as well in one key as another. While it is true there is no formula for the development of genius, there is a road for the development of craftsmanship. Knowledge of this craftsmanship can serve to unlock the door for the performer's future de- velopment. However, nothing that is lasting and worthwhile comes easily. All skill depends upon exercise. Before being offered for publication, this work was subjected to a series of intensive and exhaustive tests. It is a proven guide. From my personal experience as professional musician and educator, I have reached the con- clusion that no other approach yields more effective results. To the ambitious bandmaster, I can say that if the studies herein con- tained are mastered, your ensemble’s musical horizon will expand beyond your fondest expectations. Its efficiency will improve 100 percent. Indeed, it is my sincere belief that this monograph will prove to be your most practical guide. For his interest and useful suggestions, as well as his kind assistance in proof-reading this work, I am indebted to my good friend and colleague, Edgar L. Barrow. Detroit, Michigan—1952 LEONARD B. SMITH1868 ON PERFORMANCE The manner in which the scales are scored makes possible their performance by bands or orchestr of any size, or by string choirs, reed choirs or brass choirs as units. It will be observed that the scale-solo, in each of the 12 major keys and 12 minor keys." is represent in every instrumental part, thereby affording the individual performer an opportunity to play the scal solo 24 times. (See chart on page 6 for division of instruments.) It is important to note that although each of the 96 scales is harmonized differently, each starts ar ends on the tonic chord in root position. Thus the player may observe and identify the correct tonality | hearing it firmly established and ultimately concluded. This feature should not only materially aid developing ear-training and in strengthening intonation but should provide and sustain interest on tt part of the player. The scalesolo is always given in whole notes. This has been by direct intention, to minimize tl rhythm factor. Also, tempi and dynamic markings have been purposely omitted, to allow such emplo ment at the conductor's discretion. The scales are not graded according to degree of difficulty, simp because that which is easy for one instrument is not so easy for another. However. it will be found th: the concert keys of 2b, 3 b and 4b pose the fewest problems for all instruments. In band, the concert key signatures of 6 $ and 7$ are illogical, for an, exact diatonic transpositic would result in 8$ and 9 f respectively for Bh instruments, 94 and 10 $ respectively for Ep instr ments and 7 # an 84 respectively for F instruments. Obviously the enharmonic counterparts, 6h ar 5p respectively, are the preferable ones for concert key. In the Bb, Ep, F and Db instrumental part the 6 # signature is preferred since it is brought about by direct diatonic transposition from concert ke ‘The chart below makes this readily understood and shows the key signatures as they are written for eac instrumental part. Note that the enharmonic simplification is written wherever possible. In the orchest edition, the same procedure is followed. Concert (C) F Bb Eb Dp Instruments Instruments Instruments Instruments Instruments ° 18 4 M4 4 r 4 4 4a ot Ut at a 5 5p* 4 4“ 5 6 4p 4 st 6 sh aot st 6 Sot ape aye 6 5 % » 1b 5b % %» % ° 4b 3b Pr tb 1g ab 2b Ib 0 pra % tb ° 1% a Ib 0 It af at (Cladicates the enharmonic simplication) 1 Since some question might arise at to the author's choice in harmonizing the melodic minor seale in preference tothe harmonic form, it ean pointed out that thie decision was reached in the following manner and itis hoped that such reasoning will justify its exclusive employment ‘The harmonic minor scale contains the same form ascending as descending whereas the melodic minor form utilizes the raised 6th and 7th degs ascending and the lowered 6th and 7th degrees descending. Obviously, the latter form affords more varity Sue oo é sooo CVSS HARMONIC FORM MELODIC FORMDIVISION OF INSTRUMENTS PLAYING THE SCALE-SOLO BY GROUPS Ast Eb Hom, 2nd £b Horn 8rd Eb Hom, 4th Eb Horn GROUP I GROUP II GROUP I GROUP IV € Flute and Piccolo Oboe 31d Bb Clarinet Bassoon Db Piccolo 2nd Bb Clarinet Eb Alto Clarinet Bb Bass Clarinet Eb Clarinet 2nd Eb Alto Saxophone Bb Tenor Saxophone Eb Baritone Saxophone Ast Bb Clarinet 2nd Bb Comet (Trumpet) | Baritone (Treble) ‘3rd Trombone 4st Bb Saxophone 8rd Bb Comet (Trumpet) | Baritone (Bass) Basses 4st Bb Comet (Trumpet) Ast F Hom, 2nd F Hom 1st Trombone String Bass Bells * 3rd F Hom, 4th F Hom ‘2nd Trombone NB. It is important to understand that the chart indicates the division of instruments when employed as SOLO, It does not hold, necessarily, that the parts are divided in this manner when not labeled SOLO. % ‘The indication for Percussion is given in the Conductor's Score in first measure of each scale. The thythm pattetn illustrated (in Drums) is constant throughout the entire scale, until the last measure. INDEX The groups of instruments having the scale-solo are designated in the conductor's book by Roman Numerals. FOR SCALE-SOLO In the individual parts, when the scale-solo appears, it is labeled SOLO. Concert Key Group I Group I Group II Group IV C Major 9 5 59 “s Db Major 1 7 27 39 D Major 5 83 6 31 Eb Major 85 aL B 19 E Major 6 3 89 3 F Major 9 47 a 87 Gb Major 7 23 7 0 G Major a n 21 35 Ab Major 7 1s 1 u A Major 25 7 93 5 Bh Major 29 9 B 3 B Major a 9s 0 a C Minor 16 30 38 92 C8 Minor 4 60 4 28 D Minor 50 B 4 ry Eb Minor 4 “4 n 58 E Minor 88 64 48 8 F Minor 80 20 82 “4 Fy Minor 16 6 86 70 G Minor 68 2 46 96 Gt Minor 32 4 10 18 A Minor 2 90 2 66 Bb Minor a a2 56 26 B Minor 2 36 40 84 There is also an index in each instrumental part showing the location of the scale-solo by key signature.THE TREASURY OF SCALES ; FOR BAND Conductor D> MAJOR ~ GROUP I LEONARD B. SMITH 14) qpetts) B MINOR - GROUP I 24) ces) | E MAJOR - GROUP IV C# MINOR- GROUP IIT 4 pate - 4q cre.) © MAJOR - GROUP II 5 aa a Jd F4 MINOR- GROUP TT Slo rie.) Copyright 1952 by Bandland, Inc., Detroit 1, Mich. a Copyricht Assigned 1961 to BELWIN INC International Copyright Secured Printed in US.A,