Band Audition Material Page | of 2 Band Audition Material Please remember that the TMEA website is now the official listing of any corrections or errata regarding this music. The Performance Guides are intended to be a useful tool in the instruction of the music -- not the official listing, Percussion - Snare Advanced Snare Drum Studies, M. Peters, Mitchell Peters Etude 1: Page 38-39, 19 ‘Tempo: Quarter note 68 - 76 Play: Beginning to End Errata: Ms. 9 ~ second half of measure should be 32nd rest followed by a 32nd note and a 16th note, then four 32nd notes. Ms. 18 - The last note of the measure should be a dotted- quarter note. Performance Guide: This challenging etude explores the full palette of snare drum idioms. It includes a wide dynamic range that requires considerable soft playing as well as sudden, extreme dynamic changes; standard concert ‘ornaments (flams, drags, and four-stroke ruffs in particular); concert rolls of varying length; and rapid playing at all dynamic levels. The etude will certainly test the player's abilities to execute each of these idioms, The metrical modulation in ms. 18 and again in ms. 53 may be confusing, but quite simply the beat remains consistent throughout; In ms. 18, the feel changes from a duple Subdivision to a compound one, then back again at ms. 53. Once the player has determined his or her desired tempo, the metronome can be set and remain unchanged throughout the etude, Note that the triplet eighths at the end of ms. 17 are the same speed as eighth notes in the 6/8 section. One of the most challenging passages in the etude involves to the execution of the ruffs in mm. 26-29. These ruffs must be cleanly articulated and very fast so as to distinguish them as an ornament. Given that the release note is accented, the recommended sticking Is r-I-I-R. This sticking gives the player a greater opportunity to set the hand for the ending accent. However, as this Is a more complicated sticking to execute, I-r-I-R is a good alternative, but again the final accent must be clearly articulated. Care should also be given to distinguish these accented eighths with the non-accented eighths. The consecutive ruffs between ms. 28 and ms, 29 are most tricky. Likewise, the quality of the flams throughout the etude must be consistent. In the concert style, one must be careful not to play these flat. This consistency of quality is particularly important in mm. 50- 51, where the flams are embedded in a straight sixteenth-note context, The performer's sticking choice will influence how successfully this passage flows and how consistent the flams sound. All rolls should be in a concert (multiple-bounce) style. It is recommended that the rolls in ms. 45 be played as one-hand multiple bounce followed by a tap with the alternate hand on the release 16th note. Some players may elect to play attempt rolls as two bounced 32nd notes, but the player must not let, the rolls sound too crushed, accented, or louder than the surrounding notes. It is essential to master the full range of dynamics indicated in the etude. In particular, special attention should be given to developing control and evenness in soft playing. Clearly bring out accented notes; however, as mentioned above the performer should carefully distinguish between accented and on-accented grace notes and roll endings. In particular, do not arbitrarily end rolls with an accent; only accent roll endings where indicated. And, when playing the accents never let the tone quality become harsh. 7/25/2012 http:/Awww.tmea.org/divisions-regions/band/audition-material/fimpro?-db=Band_Books&-.4 Snare etude — 20/2//3 19 Andante de 68-76 rin rtn > if ‘_——=t FF 2r3a a cress: £ nf39 snare etvde Pa®Band Audition Material Page | of 2 Band Audition Material Please remember that the TMEA website Is now the official listing of any corrections or errata regarding this music. The Performance Guides are Intended to be a useful tool in the Instruction of the music -- not the official listing. Percussion - Keyboard: Two Mallet Masterpieces for the Marimba, McMillan, Warner Bros. Publications Etude 1: Page 30-31, E Minor, Sonata Tempo: Quarter note 110 - 124 Play: beginning to downbeat of ms. 55 (Rehearsal G) ~ (roll the quarter-note downbeat) Errata: Ms. 34, last note is rolled (8th-note G-natural). Ms. 39, last 16th of beat 2 should be A-sharp, not C-sharp. Performance Guide: This transcription Is one of the finest in the Masterpieces for Marimba book. As a clarification, this allegro movement is actually the second movement from J.S. Bach's Sonata for Flute and Continuo in -minor, BWV 1034. By using this cataloging number, the player can locate recordings of this work performed in its original form. Study of such recordings is highly recommended: not only will they serve as a model for phrasing and interpretation, but it will also be an opportunity to hear wonderful performances of this music. ‘This selection will truly challenge the player's ability to achieve a smooth, relaxed technical approach around the keyboard. A critical factor in achieving a fluid execution will be choosing correct stickings. An alternating sticking should be considered the default and will make the performance much easier. As an example, if the player begins the piece with the right hand as indicated, he or she can maintain a strict alternating sticking from the beginning through measure 5 (and actually beyond). Avoid the temptation to double stick (two consecutive notes with the same hand) unless absolutely necessary. Most players will probably find the arpegglated sections (mm. 16-26 and mm. 40-47) to be some of the ‘most difficult to play. A good approach to these passages will require not only correct stickings, but (more importantly) a thoughtful approach to bar placement. It will require the use of both the edges and middles of the bars and careful planning of when to use each. If done correctly, the player's technique will flow smoothly even in this difficult passage. If the player's approach seems choppy and strained, then a better hand arrangement/bar placement strategy likely exists. Most certainly, avoid double stickings in this complicated section. All quarter notes are to be rolled throughout. The player should also carefully observe the written roll indications ~ they are indicated by a capital "R" (for example, the final note of ms. 9). In all cases these rolls are to be played. However, care should be given to the roll releases. Throughout the movement, quarter-note rolls end on downbeats, followed by sixteenth notes (the first instance of this Is at the end of ms. 5). A danger exists here of starting the following sixteenth notes too late. Be sure to release the rolls cleanly on the downbeat, yet do not allow them to sound accented. Keep the tempo steady in the sixteenth notes that follow. hittp://www.tmea.org/divisions-regions/band/audition-material/fmpro?-db=Band_Booksé&-... 7/25/2012Two mallet etude 2012 [1% | Bay. to downbead of m. 55 (rll the purterenes | Sonata enn Roll 4 (+) (For Flute) de io-104 Je 8. Bach AllegroP34: > Two mallet etude 4 fein efbee fet fete t# ea re RE oe "ore ett. whee, 4 ¢ a Pte ptie test Set ees | | ieee RE are N= = eee -__# noone [al Soll the quater- note oe nie ee GaelBand Audition Material Page 1 of 2 Band Audition Material Please remember that the TMEA website Is now the official listing of any corrections or errata regarding this music. The Performance Guides are intended to be a useful tool in the instruction of the music -~ not the official listing, Percussion - Keyboard: Four Mallet ‘Marimba: Technique Through Music, Mark Ford, Innovative Percussion Inc Etude 1: Page 42-43, G Minor, Montecristo Tempo: Quarter note 124 - 132 Play: Beginning to End ~ take all repeats and observe first and second endings carefully Performance Guide: Mark Ford's "Montecristo" is a fine survey of the various fundamental four-mallet stroke types and is an excellent study in independence between the hands. Additionally, the etude is a good study of asymmetrical and changing meters. "Montecristo" is a lot of fun to play. Careful attention must be paid to correctly maintaining the left-hand ostinato that threads through much of the piece. The repetitive alternation of pitch in the No. 1 mallet (outside left hand mallet) is difficult to maintain accurately while also negotiating the interlocking material In the right hand, Learn these passages carefully for correct notes and practice slowly and deliberately in order to develop accuracy, The stickings have been carefully thought out in this etude, so play them as written. As mentioned in Mr. Ford's performance notes, this will require the right hand to cross over the left in ms. 8; the awkwardness of this arrangement can be alleviated by carefully choosing bar positions and hand angles. Pay special attention to the key signature at all times, The melodic line often features an e-flat (as indicated in the key signature) followed immediately by an f-sharp (examples occur in ms. 8 and mm. 42), Also note that mm. 36-39 (ist ending) include an f-natural in the lowest mallet, while In mm. 40- 42 (second ending), the lowest note Is F-sharp. “Montecristo" affords the performer the opportunity to demonstrate his or her command of "touch" and nuance as opposed to power and speed, It should have a relaxed, dance-like lilt instead of driving ahead intensely. The player will notice the dynamics rarely exceed mezzo-forte and are often mezzo- piano or softer. A medium, heavy yarn wound mallet is recommend. Prioritize warmth of sound and richness of tone quality; avoid harsh, biting articulation. http://www.tmea.orgidivi ions-regions/band/audition-material/fimpro?-db=Band_Books&-... 7/25/2012Four abllek etude Take all repeats Medium Hard Mallets J. 152 Havana spa 133344 2ole/is Montecristo 01 ical Strokes Double Vertical S Mark Ford 42(4% Four Mallet Montecristo 43Band Audition Material Page | of 2 Band Audition Material Please remember that the TMEA website Is now the official listing of any corrections or errata regarding this music. The Performance Guldes are intended to be a useful tool in the instruction of the music -- not the official listing. Percussion - Timpani The Solo Timpanist, Firth, Carl Fischer Etude 1: Page 27, XV Tempo: Quarter note 112 - 120 Play: Beginning to End Performance Guide: This engaging etude offers numerous challenges to the performer. Amongst other notable issues, the woric is in 7/8 and the player will need to take special care to interpret the meter and rhythm correctly at all times, This etude must be played on only three drums. In general, I recommend the 32", 29" and 26" drums. However, this may not be practical on some models of timpani. so the player should carefully evaluate his or her drums to determine which sizes are most suitable. The low drum must be capable of clearly producing a low F-natural (which occurs in ms. 39) - this pitch Is generally best on the 32" drum. On the other hand, in order to execute the glisses in mm. 6-7 on a single drum, that drum must be able to reach the c-natural in the middle of the staff ~ this may be out of range of the 32" available to the player. One of the most challenging moments in the etude occurs in mm, 9-10, The final three eighth notes of ms, 9, the final two eighths of ms. 9, and the downbeat of ms. 10 require melodic tuning on a single drum ~ that is, each of these pitches Is played on the 26" drum. The proper method here is not to simply play a glissando, but instead to snap the pedal to each pitch nearly simultaneously with the mallet coming in contact with the head. The result should be a crisp change of notes and clear pitch on each. The player should not underestimate the amount of practice necessary to master this technique, As always, precise tuning, both in terms of the accuracy of pitch and of correct number of beats given to execute the change, Is essential. Very little time is afforded to the player for tuning changes. For instance, two drums must be tuned simultaneously over the two quarter rests in ms. 11, Proper dampening should be incorporated when appropriate. Generally, heads should be dampened when followed by an unrolled dotted-eighth or longer note on another drum; however, do not over- dampen, Stickings provided in the printed music are generally appropriate ~ note that this requires a ccross-sticking in ms. 14 and again in ms. 31. The sixteenth notes in ms. 34 should be singled, not doubled on each drum. In mm. 6-7, the ending note of the glissandi should be re-struck, While this is a robust, driving etude, the player should priorize playing with a full, rich tone and not a harsh, "poundy" one. Hard, staccato mallets are most appropriate for this etude, Articulation should always be crisp and clear, even at softer dynamic levels. 7/25/2012 http://swww.tmea.org/divisions-regions/band/audition-material/fmpro?-dTimpani etude Lol2/7 XV — 2 ur-120