🎺 Resources by Instrument
Flute
[Flute Fingering Chart.pdf](/assets/Flute Fingering Chart.pdf)
Advanced Fingerings (Trills, alternates, etc.)
[Flute - Scale Sheet.pdf](/assets/Flute - Scale Sheet.pdf)
[Flute - Scale Sheet (Keyless).pdf](/assets/Flute - Scale Sheet (Keyless).pdf)
[Flute - Thirds Scales.pdf](/assets/Flute - Thirds Scales.pdf)
[Flute - Thirds Scales Keyless.pdf](/assets/Flute - Thirds Scales Keyless.pdf)
Double Octave Flute Fingerings.pdf
Flute Scale Considerations
Concert F
Key Signature: B♭
- Compared to Concert B♭, E is not flat.
- Make sure A doesn’t become flat
- After high C, ensure that you’re using your correct fingerings for the high notes (D-E-F)
- And that it’s high E, not E♭
Concert A ♭
Key Signature: B♭, E♭, A♭, D♭
- Other than the D ♭, this is just the already-comfortable E ♭ Major scale with a different starting point
- Our error with D♭ tends to be playing a regular D instead. Just the pinky
- Keep track of which note name you’re on, especially on your C-D♭- E♭ transitions (and the reverse coming down the scale)
01 - Flute - Building Up Second Octave High Notes.pdf
Clarinet
[Clarinet Fingering Chart.pdf](/assets/Clarinet Fingering Chart.pdf)
Advanced Fingerings (Trills, alternates, etc.)
[Clarinet - Scale Sheet.pdf](/assets/Clarinet - Scale Sheet.pdf)
[Clarinet - Scale Sheet (Keyless).pdf](/assets/Clarinet - Scale Sheet (Keyless).pdf)
[Clarinet - Thirds Scales.pdf](/assets/Clarinet - Thirds Scales.pdf)
[Clarinet - Thirds Scales Keyless.pdf](/assets/Clarinet - Thirds Scales Keyless.pdf)
Double Octave Clarinet Fingerings.pdf
Exercises to help crossing the break:
Clarinet Refreshers for Crossing the Break.pdf
Pair these with the red book exercises they mention. The fingerings will be the same across each, just using the register key with one but not the other.
Break_Breakers_-_Full_Score.pdf
Alto Sax
[Saxophone Fingering Chart.pdf](/assets/Saxophone Fingering Chart.pdf)
Advanced Fingerings (Trills, alternates, etc.)
[Alto Saxophone - Scale Sheet.pdf](/assets/Alto Saxophone - Scale Sheet.pdf)
Alto Saxophone - Scale Sheet (Keyless).pdf
[Alto Saxophone - Thirds Scales.pdf](/assets/Alto Saxophone - Thirds Scales.pdf)
[Alto Saxophone - Thirds Scales Keyless.pdf](/assets/Alto Saxophone - Thirds Scales Keyless.pdf)
Tenor Sax
[Saxophone Fingering Chart.pdf](/assets/Saxophone Fingering Chart.pdf)
Advanced Fingerings (Trills, alternates, etc.)
[Tenor Saxophone - Scale Sheet.pdf](/assets/Tenor Saxophone - Scale Sheet.pdf)
[Tenor Saxophone - Scale Sheet (Keyless).pdf](/assets/Tenor Saxophone - Scale Sheet (Keyless).pdf)
[Tenor Saxophone - Thirds Scales.pdf](/assets/Tenor Saxophone - Thirds Scales.pdf)
[Tenor Saxophone - Thirds Scales Keyless.pdf](/assets/Tenor Saxophone - Thirds Scales Keyless.pdf)
Double Octave Sax FIngerings.pdf
Trumpet
[Trumpet Fingering Chart.pdf](/assets/Trumpet Fingering Chart.pdf)
[Trumpet - Scale Sheet.pdf](/assets/Trumpet - Scale Sheet.pdf)
[Trumpet - Scale Sheet (Keyless).pdf](/assets/Trumpet - Scale Sheet (Keyless).pdf)
[Trumpet - Thirds Scales.pdf](/assets/Trumpet - Thirds Scales.pdf)
[Trumpet - Thirds Scales Keyless.pdf](/assets/Trumpet - Thirds Scales Keyless.pdf)
Overtone/Shelf Warmup for Lip Building
Selected Clarke Studies
Horn
Horn Fingering Chart.pdf
F and B♭ Sides of the Horn, Scale Fingerings, and You
Because some of us have single F horns, because most of us have double horns, and the mellophone is a single B♭ horn, I wanted to lay out every single fingering for every scale in tables. The highlighted cells — switching between the sides of the horn — is the fingering those with a double horn should use (in conjunction with the trigger)
c.f. Horn Fingering Chart.pdf
C Scale (Concert F)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 0 | C | 0 |
| 1 | D | 12 |
| 0 | E | 2 |
| 1 | F | 0 |
| 0 | G | 1 |
| 12 | A | 12 |
| 2 | B | 2 |
| 0 | C | 0 |
F Scale (Concert B♭)
Low Version
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 1 | F | 0 |
| 0 | G | 1 |
| 12 | A | 12 |
| 1 | B ♭ | 1 |
| 0 | C | 0 |
| 1 | D | 12 |
| 0 | E | 2 |
| 1 | F | 0 |
High Version
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 1 | F | 0 |
| 0 | G | 1 |
| 12 | A | 12 |
| 1 | B ♭ | 1 |
| 0 | C | 0 |
| 0 | D | 12 |
| 0 | E | 2 |
| 1 | F | 0 |
B♭ Scale (Concert E♭)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 1 | B♭ (below the staff) | 1 |
| 0 | C | 0 |
| 1 | D | 12 |
| 2 | E♭ | 1 |
| 1 | F | 0 |
| 0 | G | 1 |
| 12 | A | 12 |
| 1 | B♭ | 1 |
E♭ Scale (Concert A ♭)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 2 | E♭ | 1 |
| 1 | F | 0 |
| 0 | G | 1 |
| 23 | A♭ | 23 |
| 1 | B♭ | 1 |
| 0 | C | 0 |
| 0 | D | 12 |
| 2 | E♭ | 1 |
A♭ Scale (Concert D♭)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 23 | A♭ (Below the staff) | 23 |
| 1 | B♭ | 1 |
| 0 | C | 0 |
| 12 | D♭ | 23 |
| 2 | E ♭ | 1 |
| 1 | F | 0 |
| 0 | G | 1 |
| 23 | A♭ | 23 |
D ♭ Scale (Concert G ♭)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 12 | D♭ | 23 |
| 2 | E♭ | 1 |
| 1 | F | 0 |
| 2 | G♭ | 12 |
| 23 | A♭ | 23 |
| 1 | B♭ | 1 |
| 0 | C | 0 |
| 2 | D♭ | 23 |
G ♭ Scale (Concert B)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 2 | G♭ (below the staff) | 123 |
| 23 | A♭ | 23 |
| 1 | B♭ | 1 |
| 2 | C♭ | 2 |
| 12 | D♭ | 23 |
| 2 | E♭ | 1 |
| 1 | F | 0 |
| 2 | G♭ | 12 |
B Scale (Concert E)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 2 | B | 2 |
| 12 | C♯ | 23 |
| 2 | D♯ | 1 |
| 0 | E | 2 |
| 2 | F♯ | 12 |
| 0 | G♯ | 1 |
| 1 | A♯ | 1 |
| 2 | B | 2 |
E Scale (Concert A)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 0 | E | 2 |
| 2 | F♯ | 12 |
| 23 | G♯ | 23 |
| 12 | A | 12 |
| 2 | B | 2 |
| 2 | C♯ | 23 |
| 2 | D♯ | 1 |
| 0 | E | 2 |
A Scale (Concert D)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 12 | A (Below the staff) | 12 |
| 2 | B | 2 |
| 12 | C♯ | 23 |
| 1 | D | 12 |
| 0 | E | 2 |
| 2 | F♯ | 12 |
| 23 | G♯ | 23 |
| 12 | A | 12 |
D Scale (Concert G)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 1 | D | 12 |
| 0 | E | 2 |
| 2 | F♯ | 12 |
| 0 | G | 1 |
| 12 | A | 12 |
| 2 | B | 2 |
| 2 | C♯ | 23 |
| 0 | D | 12 |
G Scale (Concert C)
| F Side | Horn Pitch | B ♭ Side |
|---|---|---|
| 0 | G (below the staff) | 13 |
| 12 | A | 12 |
| 2 | B | 2 |
| 0 | C | 0 |
| 1 | D | 12 |
| 0 | E | 2 |
| 2 | F♯ | 12 |
| 0 | G | 1 |
[Horn - Scale Sheet.pdf](/assets/Horn - Scale Sheet.pdf)
[Horn - Scale Sheet (Keyless).pdf](/assets/Horn - Scale Sheet (Keyless).pdf)
[Horn - Thirds Scales.pdf](/assets/Horn - Thirds Scales.pdf)
[Horn - Thirds Scales Keyless.pdf](/assets/Horn - Thirds Scales Keyless.pdf)
Overtone/Shelf Warmup for Lip Building
Selected Clarke Studies
Trombone
[Trombone Slide Position Chart.pdf](/assets/Trombone Slide Position Chart.pdf)
[Trombone\Euphonium - Scale Sheet.pdf](/assets/Trombone\Euphonium - Scale Sheet.pdf)\
[Trombone\Euphonium - Scale Sheet (Keyless).pdf](/assets/Trombone\Euphonium - Scale Sheet (Keyless).pdf)
[Trombone\Euphonium - Thirds Scales.pdf](/assets/Trombone\Euphonium - Thirds Scales.pdf)
[Trombone & Euphonium - Thirds Scales Keyless.pdf](/assets/Trombone & Euphonium - Thirds Scales Keyless.pdf)
Trombone Scale Considerations
Concert C
Key Signature: No sharps or flats
- Make sure B is not flat – in the octave you play it here, it’s fourth position.
- Use third position for your high C, please
- Make sure that A and E also aren’t flat – both second position
Concert F
Key Signature: B♭
- Compared to Concert B♭, E is not flat, and thus in second position, not third position.
Concert B♭
Key Signature: B♭, E♭
- Though it’s our ‘home base’ scale, make sure A is in a solid 2nd position
Concert E ♭
Key Signature: B♭, E♭, A♭
- No second position notes
- As you get above the high B♭, make sure you’re adjusting positions
- C should be third position above the staff
- D should be open above the staff
- E♭ is still third position above the staff
Concert A ♭
Key Signature: B♭, E♭, A♭, D♭
- Other than the D ♭, this is just the already-comfortable E ♭ Major scale with a different starting point
- Our error with D♭ tends to be playing a regular D instead. Fifth position isn’t always the easiest to find.
Concert D ♭
Key Signature: B♭, E♭, A♭ D♭, G♭
- Coming from the previous scale, just adds G ♭, which will also be in fifth position
- As a result, NO FOURTH POSITION NOTES
- Make sure that G♭ and lower D♭ alike aren’t too far in
- For the upper range, make sure to switch that high C to third position instead of sixth
- Make sure the top note is still D♭ and not D!
- Above the staff 2nd position will work better than fifth for D♭
Concert G ♭
Key Signature: B♭, E♭, A♭, D ♭, G♭, C♭
- E♭ and A♭ are both 3rd
- D♭ and G♭ are both 5th
- C♭ is 7th; enharmonically the same as a B♮
Concert B
Key Signature: F♯, C♯, G♯, D♯, A♯
- Make sure B and E aren’t flat
- B will be in 7th position on the starting pitch
- 4th position at the top of the scale
- F♯ is 5th position
- C♯ is 5th position in the lower octave
- G♯ is 3rd position
- D♯ will be in 3rd position
- A♯ is in 1st position
- Make sure E is solidly in 2nd position
Concert E
Key Signature: F♯, C♯, G♯, D♯
- Make sure B and E aren’t flat
- B will be in 4th position in the appropriate octave here
- F♯ is 5th position
- C♯ is 2nd position in the upper octave
- G♯ is 3rd position
- D♯ will be in 3rd position (even though it’s high here)
- Make sure E is solidly in 2nd position
Concert A
Key Signature: F♯, C♯, G♯
- Make sure B and E aren’t flat
- B will be in 7th position in the appropriate octave here
- F♯ is 5th position
- C♯ is 5th position in the lower octave
- G♯ is 3rd position
- Make sure A is solidly in 2nd position
Concert D
Key Signature: F♯, C♯
- Make sure B and E aren’t flat
- B will be in 4th position in the appropriate octave here
- F♯ is 5th position
- C♯ is 2nd position in the upper octave
- You’ll have a better time if your high D is open
Concert G
Key Signature: F♯
- Make sure B and E aren’t flat
- B will be in 7th position in the appropriate octave here
- F♯ is 5th position
A quick note on sharps as the enharmonic equivalents…
Thinking of our sharps as their flat equivalent is a bit double-sided. As a quick refresher
- F♯= G♭
- C♯= D♭
- G♯= A♭
- D♯= E♭
- A♯= B♭
- And we don’t encounter them, but E♯=F and B♯=C
This (hopefully) helps us identify the correct position quickly, but you have to be careful to not let it take the wrong place in your head. For example, in the D scale, if you were to think D, E, G♭… then it would only be natural to skip over G next and go right to A. It's not guaranteed to break your mental conception of the scale, but be careful!
Help with the double-octave scales
Top of the G♭ Scale:
- G♭: Better to use a sharp 3rd position
Top of the G scale:
- F♯: Better to use a sharp 3rd position
- G: Better to use a sharp 2nd position
Top of the A♭ Scale:
-
G: Better to use a sharp 2nd position
-
A♭: Just gotta go 3 there tho
Overtone/Shelf Warmup for Lip Building
Selected Clarke Studies
Euphonium
[Euphonium Fingering Chart.pdf](/assets/Euphonium Fingering Chart.pdf)
[Trombone & Euphonium - Scale Sheet.pdf](/assets/Trombone & Euphonium - Scale Sheet.pdf)
[Trombone\Euphonium - Scale Sheet (Keyless).pdf](/assets/Trombone\Euphonium - Scale Sheet (Keyless).pdf)
[Trombone\Euphonium - Thirds Scales.pdf](/assets/Trombone\Euphonium - Thirds Scales.pdf)
[Trombone & Euphonium - Thirds Scales Keyless.pdf](/assets/Trombone & Euphonium - Thirds Scales Keyless.pdf)
Overtone/Shelf Warmup for Lip Building
Selected Clarke Studies
Tuba
[Tuba Fingering Chart.pdf](/assets/Tuba Fingering Chart.pdf)
[Tuba - Scale Sheet.pdf](/assets/Tuba - Scale Sheet.pdf)
[Tuba - Scale Sheet (Keyless).pdf](/assets/Tuba - Scale Sheet (Keyless).pdf)
[Tuba - Thirds Scales.pdf](/assets/Tuba - Thirds Scales.pdf)
[Tuba - Thirds Scales Keyless.pdf](/assets/Tuba - Thirds Scales Keyless.pdf)
Overtone/Shelf Warmup for Lip Building
Selected Clarke Studies
Percussion
[Mallets Note Chart.pdf](/assets/Mallets Note Chart.pdf)
[Mallets - Scale Sheet.pdf](/assets/Mallets - Scale Sheet.pdf)
[Mallets - Scale Sheet (Keyless).pdf](/assets/Mallets - Scale Sheet (Keyless).pdf)
[Mallets - Thirds Scales.pdf](/assets/Mallets - Thirds Scales.pdf)
[Mallets - Thirds Scales Keyless.pdf](/assets/Mallets - Thirds Scales Keyless.pdf)
[Mallets - Chromatic Scale Resource.pdf](/assets/Mallets - Chromatic Scale Resource.pdf)
Coffin Book Recordings
Drumline Cadences
02 - 2) Hippity-Hop - Mix.m4a%20Hippity-Hop%20-%20Mix.m4a)
05 - 5) 2 Hip 2 Hop - Mix.m4a%202%20Hip%202%20Hop%20-%20Mix.m4a)
Smack Dabbit
- Original Track
01 - 1) Smack Dabbit - Mix.m4a%20Smack%20Dabbit%20-%20Mix.m4a)
- 90%
Smack Dabbit - Anytuned 0.90x HQ.m4a
-
- 80%
Smack Dabbit - Anytuned 0.80x HQ.m4a
-
Tater Salad
- Original track -
03 - 3) Tater Salad - Mix.m4a%20Tater%20Salad%20-%20Mix.m4a)
- 90% Speed
Tater Salad - Anytuned 0.90x HQ.m4a
- - 80% Speed
Tater Salad - Anytuned 0.80x HQ.m4a
-
Don’t forget the things that are universal across all instruments (e.g. rhythm assessments)