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
HABPercussion - 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.
Na1aix
de 82-40
Deas-o2
RL LR
FH BODE FE
pis dedi
cE
we
——
ware