February 2018 Unirteo Percussion ‘SNARE DRUM: PORTRAITS IN RHYTHM (Antony J. ions Ware roars Msc) (MALLETS: MODERN SCHOOL FOR XYLOPHONE, MARIMBA, VIBRAPHONE (rr Gldbersmsia interpretations en editing by Anthony J. Crone, plished by Alfred Music) TIMPANI: MODERN METHOD FOR TYMPANI (Sul Goodman, ete by Kolo; Werdesbeln and Crone Music or Warmer Brothers) YEAR A SNARE DRUM: Page 13, #11, Play tothe downbeat of line 9 (measure 12). “Tempo as marked Clarification: 411 quaner notes with ols are followed by = dot and ie ‘The dot slightly hidden in some es, but they are al dotted quarter note, MALLETS: Pages 92-93, #XXXVIIL, Vivace. Play al. d= 120-132 TIMPANE: Page 63, 062 (dree drum), Allegro, Play ail 96 YEAR B SNARE DRUM: Page 28, #26, Play from measure 2 of line 6 (measure 17)to the end, Tempo as marked Known Errata: Measure 25, beat 7 should have ate nto the release like bet Measure 29, ad ate connecting the fam onthe tf beat Sto the downbeat of beat 6 MALLETS: Page 76, HX VIII =n Payal TIMPANE: Page 60, #57 (ovo drum), in F & C. J=9 Play through measure 6 of line 5 (measure 25). Stop on the ret at the beginning of measure 26. “SNARE DRUM Page 26, #24 mide ‘Tempo as marked Ply fiom measure | of ine 3 (measure 5) 10 the frst note of measure 2 of ine 11 MALLETS: Page 94 ‘Bach's Violin Concerto in A Minor Play fom the begining tthe fst aot of beat 2 in measure of ine 12, Known Errata: 1. Measure 9, ast note ted othe next measure 10) i rolled 2 Inmeasures 21,22, 25, and 27, the ted eighth note onthe upbeat ofthe ist coun i rolled TIMPAN: Page 58, #53 (to drum), Slow March, Play all, YEAR D SNARE DRUM: Page 52, #48, Play te ist 8 fines. Tempo as marked Known Errata: In older eins in measure 12, he ast ot should bean eighth oe, ot sixteenth rte. MALLETS: Page 90, ¥XXXY, Allegreri, Play all. d Known Errata: Measure 24 should have at onthe D, nota natal i found inthe ne ton TMPANE: Page 63, #60 (tree rum), Andante, Play the fist lines. Stop onthe rest a the beginning of measure 18. J YEARE SNARE DRUM: Page 45, #42, Play the last 6 lines ‘Tempo as marked MALLETS: Page 69, #XI, Allegro asic, Play al 12 Tuan Page 60458 (oo dum) G&D, Pay rom menue 4of line wtheend, “d= 64February 2018 ATSSB Percussion Audition Guidelines ° All percussion equipment to be used must be inthe suition area before auditions begin. Students ‘may take their sticks and mallets with them tothe holding area but mus leave equipment in the audition area. State level char audition will be held on cuts from the music to be performed in the All-State Band and will be posted online after Area. ROUND ONE: SNARE DRUM “The first 5 students will be allowed in the audition oom for a 30-second warm-up timed bythe Monitor. 2. After the warm-up all but the first performer will exit the room, then auditions begin 5. Ifthe individual student wishes to warm up, they may play a log rol for no more than five seconds (timed by the monitor), after whieh they wil play the assigned etude. 4. After five students have auditioned, the next five wil be allowed into warm up (see No. 1 above). ‘5. This continues until ll students have performed the frst round (snare drum). ROUND TWO: MALLETS 1 Begninge thro the way down th suon i the fit Students wl bellowed in he tsliton oom fora 3osecond waa timed byte Monto, 2. After the warms all uh rst pefomer wil xe om thn ations begin, 3: then aide when oar yey ayy ong a for no ee nan ve ‘cond ined by the monn er wie hy wl lyse asgned ese 4 ier fv stds ave sutoed theme wl bellowed ino warm a (ENO. shove Mig Goins uni al student hae performed the second round (les). Mallet recommendations areas follows (this list shouldbe used asa reference for the pe of mallet ‘hat should be used forthe students performance): ‘bells - hard fubber mallets such as 06 Mike Balter, gray, or medium plastic males. ‘+ marimba - any medium firm yarn wrapped marimba mallet such as Encore 32AY, Innovative (6031 or Balter 222, ‘+ xylophone - medium hard rubber mallets such as Encore 1038, Innovative ENS360, oF Balter 5 ‘Suudents should refrain from using any plastic mallets, brass mallets, or acrylic mallets. ROUND THREE: TIMPANI 1. Beginning two-thirds ofthe way down the audition lst, he first 5 students willbe allowed inthe audition room for 30-second warm-up timed by the Monitor. ‘After the warm-up, all but the frst performer will exit the room, then auditions begin. ‘The Monitor will lower all tuning pedals tothe floor. Each student will tune each timpani from any source so long a it is audible to the judging panel. Each student willbe given 30 seconds tune the timpani. Timing wil be done by the percussion ‘monitor. After te ting process, they must touch each drum from the lowest pit to the highest Pitch to demonstrate tothe judges the resulting pitches before beginning the etude. They may play along rol onthe first note ofthe etude for no more than five seconds as a warm-up, afer ‘which you wil play the assigned etude, Judges will consider tuning in their adjudication of the exude. After the student is done, the Monitor will lower the pedals to the floor again forthe next student ‘fier five students have auditioned, the next ive will be allowed into warm up (see No. | above). 7. This continues unt all students have performed the third round (Jimpani.26. ‘Tho Sonatins is the aryest two-part construction in music, The first section of the orm begins with fn exposition of a primary theme, moves through a”brige-ike” portion ino a eecondaty theme in ‘itdeven key, and tsually concludes witha kind of oda, ‘The second section reospltulates the opening theme in the original key, often utilizes a transitory passage as & loadin tothe secondary theme, ‘which i, tha time, slse in the original key; tuoform may or may not employ an appended, 2ade-ice “losing.” In this pice, the form has again been translated ino rhythmic forme: Section ~ primasy heme, moaeures 1-5; transition, measures 6-T; secondary theme, measures 8-19; coda, measures 20-95" Section I~ primary theme, measures 26-28; transition, measures 30-36; secondary thee (in original timo signature,) measures 97-40; coda, measures 11-43. 24 Sonatina 4=88BACH'S VIOLIN CONCERTO IN A MINOR Adapted for xylophone by M. 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