Neen eEEEEEE Percussion - Snare Book - Title Editor Publisher Edition Portraits in Rhythm A. Cirone Belwin Mills/Alfred HABOO101 Selection 1 Page(s): 19 Key: Etude Title: No. 17 Tempo: Dotted Eighth Note= 84-88 Play from Beginning to end. Errata: Please note that the tempo now reads Dotted Eighth Note=84-88. The originally stated fastest tempo of 92 is now 88. Updated July 31 In M, 33, in some books, there is a printer's error of a faded dot following the first note/roll. The faded dot should not be in the music at all. The first note is an 8th note, not a dotted-eighth note. So the measure is an eighth note, followed by a dotted eighth note. Updated July 31. Performance Guide: Anthony Cirone’s Portraits in Rhythm Etude #17 is a musical snare drum etude that demands precise timing, strong dynamic contrast and articulate rolls. I recommend to play this etude at dotted-eighth note = 84-92 which is faster than originally marked on the score, This allows for challenges with musical phrasing within constant meter changes and dynamic shifts. Utilizing a 16th note base, Etude #17 shifts meters often primarily focusing on groups 2 and 3 sixteenth notes. The sixteenth note remains constant throughout indicated by the composer in mm. 4. Players are encouraged to use a slight accent ‘on the down-beat of each bar to outline the meter. Rhythmic groupings organized by the meter should be felt and heard clearly. All rolls should be concert (closed) rolls and not rudimental rolls (this includes single 16th notes with a roll slash as in line 5). Avoid pressing the sticks into the head to create these rolls, but rather allow the sticks to bounce freely to create a beautiful sustain on the drum, Note in mm 26-33 that the rolls are detached with each roll having a “fresh attack” indicated by the staccato marking. Players should play over the snare bed for consistent snare response. It is appropriate to utilize playing areas closer to the edge of the drum for softer passages. Avoid playing in the center of the drum at all times.stg b> a ele ae 9S FR a Sy ae | peel papas pes : Pata aes | pI ey HABPercussion - Keyboard (2 Mallet) Book - Title Editor Publisher Edition Masterworks for Mallets Gottlieb Row-Loff Productions RLP-12102000 (2006) Selection 1 Page(s): 40-41 Key: C Minor Etude Title: Fantasie and Menuett Tempo: Dotted Quarter Note = 60-64 Play from Beginning to end. Errata: In M, 28, the first note in beat 2 should be a B-natural, NOT a B-flat. Updated July 31. Performance Guide: Fantasie and Menuet (Suite No. 5) from Masterworks for Mallets arranged by Beth Gottlieb is a wonderful transcription that offers students musical/technical challenges combined with stylistic variation. Originally written for harpsichord by Johann Mattheson (1681-1764), this Fantasie and Menuett is in the Baroque style similar to the music of Johann Sebastian Bach (1685-1750). The Baroque “Fantasie” (Fantasy) is a composition based on improvisation and expressive rubato exuberance. However, the player should play in time as indicated, Performers may consider slight expressive ritards at cadential points. Stickings for the Fantasy should be consistent and regular when possible. For example, the sticking at mm, 9-10 could be RLRLRL RLLRRL and then repeated through mm.11-15. When in doubt, alternate mallet sticking for the best control, and use double-stickings when necessary. After a brief Adagio transition at mm.39, the Fantasy Is followed by a Menuett (Minuet), an elegant dance in triple meter. This allows for the player to shape 8- bar phrases into a musical dialogue with grace and style. Most of the Minuet is marked at the piano dynamic with only Letter D marked at forte. Overall the music should be lyrical in nature and played with a light touch with medium hard mallets. Diminuendos should be utilized with phrase endings. Only at Letters A and D does the arranger indicate that the player crescendo into the following phrase. Record yourself often and make corrections on your music while listening. The more you listen, practice and study the better you will be!(Suite No. 5) Johann Mattheson arranged by Beth Gottlieb crese. -40-Fantasie and Menuett 2 Menuett Allegretto crese f 41-Percussion - Keyboard (4 Mallet) Book - Title Editor Publisher Edition #MarimbaBaby: A Marimba Songbook Mark Ford Musicon Publications 2018 Selection 1 Page(s): 16-17 Key: G Major Etude Title: Sweet Dreams Tempo: Dotted Quarter Note = 56-56 Play from three pickup notes to M. 21 to Ms. 36, take the second ending and go to the end. Errata: Begin with the 3 pick ups notes to measure 21. Do not take the first ending at mm. 36. Take the 2nd ending and go to the end,Players may only play the 4.3 octave version of Sweet Dreams. To play Sweet Dreams on a 4.3 marimba follow these instructions: In measures 22 and 26 ~ play B2 instead of G2. In measures 29, 33, 42 - play the first four 8th notes in the bass clef up an octave. The right hand is unchanged. In measure 46 ~ Play the low G2 up an octave Performance Guide: Note: TMEA is not requiring the future use of 5 octave marimbas for auditions. The comments previously posted by the selector were not official TMEA policy and have been removed. (posted 7/25) ‘Sweet Dreams is a flowing lullaby with a cascading melody. Make every effort to keep the accompaniment soft and let the melody sing without playing too loudly. Create dynamic contour in the melody by giving higher pitches slightly more dynamic intensity. The chorus at measure 29 should be full and resonant, Overall the music should be lyrical in nature and played with a light touch with medium hard mallets with a slightly softer mallet in the #1 position. Record yourself often and make corrections on your music while listening. The more you listen, practice and study the better you will be!Percussion - Timpani Book - Title Editor Publisher Edition The Solo Timpanist Firth Carl Fischer 04402 0-8258-0914-2 Selection 1 Page(s): 39 Key: Etude Title: XxIT Tempo: Eighth note 88-96 Play from Beginning to end. Errata: The dotted quarter note in measure 17 should have three slashes on its stem to make it a roll. Performance Guide: Vic Firth’s Etude XXII is a timpani etude that demands clear tone, precise tuning, strong dynamic contrast and musical timing. Players should use medium to medium-hard timpani mallets. If a stool is utilized, be sure that the height of the stool allows for the player to deliver a fluid stroke with rebound. Play this adagio etude in a lyrical manner. Focus on accurate rhythms within the slow tempo. Glissandos from a full-sized note to a grace note (mm. 9-10), strike only the first note and gliss down to the lower note; when both first and last notes are full sized but not rolled (mm. 11, 13), strike both notes. Rolled glissandos (mm. 10-12) should be held for their full value. All glissandos are to be executed precisely in rhythm, with careful attention to intonation. Note that mm. 9-11 are played on the 29" drum, and mm. 12-13 are played on the 26” drum. All tuning should be done in the precise time allotted. The player should “move in time” and coordinate tuning with the required rest counting. During practice the player should sing each set of pitches to be tuned. Use a tuning fork to practice singing/tuning. The use of a pitch-pipe is not recommended. Strive for consistent tone by playing 2-5 inches from the rim (playing areas will be slightly deeper on the larger timpani.) Always allow the mallets to lift and rebound off the head. Avoid down-stroking. Listen to each drum within the phrase for a clear musical performance. Record yourself playing each section of this etude for stronger self-evaluation. As you listen to your recording, write your ideas for improvement on the music.XXII A facility for playing adagio is as important and essential as a technique for playing presto. Standard rhythmic figures suddenly take on a different meaning, For example, the dotted eighth and sixteenth pattern, (4°) presents a new perspective in adagio, Triplets that were normally three to a beat ( [J] ) now become three against two (as in measure 4). Measure 8 offers three against four or six against eight. Although measure 25 seems to go into an allegro tempo, it still remains in eight. At measure 27, steadiness of tempo must be maintained. In the glissando passages that are not rolled and gliss. to a grace note, strike only the first note. For example, in measures 9 and 10, strike the By and gliss. down as far as Ff. In measure 11 when both notes are written full size, strike both notes and gliss. in between. Na1aix de 82-40 Deas-o2 RL LR FH BODE FE pis dedi cE we —— ware