Percussion - Snare

Book - Editor Title Publisher Edition

M. Peters Advanced Snare Drum Studies Mitchell Peters (NA)
Selection 1
Page(s): 22-23
Key: || Clef
Etude Title: 11
Tempo: Quarter note 118-126
Play from Beginning to end.
Err ta:
Errata:
m. 36 going to m. 37 - add notation "eighth note equals eighth note"
m. 66 - second note should be a dotted eighth-note
m. 67 - third note should be sixteenth note
The end of line 16 appears to have a blank measure in 3/4, this is not a measure. It is a courtesy time
signature. There should be no break in sound between line 16 and line 17.

Performance Guide:
Careful attention to the consistency of all drags and flams in this etude should be made while
preparing and performing this etude. Ornaments should be rhythmically precise and not alter the time
or feel of each section. The same rhythmic roll bases that will be used at the desired performance
tempo should be used when practicing this etude at a slower tempo. This will ensure that stickings
will not have to change once performance tempo is met. The performer needs to clearly demonstrate
the difference between roll endings throughout the etude (accented release, unaccented release, or
untied rolls). The advanced performer will incorporate slight inflection during compound and mixed
meter sections, which will allow for easy identification of time signatures.
This etude is a pretty straight-forward etude, however, there are a few spots that students might
overlook and learn something incorrectly (e.g. length of whole-measure rests at the ends of sections).
At the suggested tempo range, consistency of sound hand to hand might become an issue for m. 15
and m. 52, and, depending on sticking choice, the drags at the end of m. 49 might cause some
problems with students as well. Subdivision integrity is imperative with all dotted rhythms in this
etude, especially during lines 7 and 8! Etude 11 has rhythmic motives that are wonderfully used
compositionally throughout this work, which gives the performer several occasions to be lyrical and
musical on the snare drum despite its highly rhythmic appearance.

Percussion - Keyboard (2 Mallet)

Book - Editor Title Publisher Edition
McMillan Masterpieces for the Marimba Warner Bros. Publications PROBK 01202 0-7692-3374-0

Selection 1
Page(s): 30-31
Key: E Minor
Etude Title: Sonata
Tempo: Quarter note 110-120
Play from Beginning to Do nbeat of m. 55 (Rehearsal G) - (roll the quarter-note do nbeat).
Errata:
Errata:
m. 34 - last note is rolled (8th-note G-natural)
m. 37 - Beat 3, fourth 16th note - should be a B-natural
m. 47 - Beat 4, third 16th note - still a C-sharp. Missing courtesy accidental.

Performance Guide:
While preparing this work, students need to adhere to the suggested stickings printed in the music.
Alternated stickings for the e tended arpeggio figures work if starting with the suggested hand.
Playing spots on accidentals (center vs. edge) might change depending on the passage. Choose
playing spots that will allow for the smoothest and most comfortable playing. To help with accuracy
in these sections, students should plant their feet and avoid excessive shuffling of feet or shifting of
weight to each side of the body. S ecial attention to inflection and bringing out the melodic line
should be made by the performer, not every sixteenth-note should be expressed at the same volume.
As was tradition in the Baroque Era, there are not many dynamic markings in this work. Performers
are expected to provide their own musically-informed dynamics and phrasing. All quarter notes that
have a tie should be rolled, with focus on ending the roll on the downbeat without accenting the
release. Out of preference, I do not suggest to roll the quarter note in m. 32. Make sure to note that
there are eighth-note rolls, these are indicated by a capital R . This etude is the second movement
(Allegro) from J.S. Bach s Sonata for Flute and Continuo in e-minor, BWV 1034. Students are
encouraged to listen to many recordings of this work to aid with their musical decisions.

Percussion - Keyboard (4 Mallet)

Book-Editor Title Publisher Edition
Julie Davila Impressions on Wood Row-Loff Productions REP-10052000

Selection 1
Page(s): 15-17
Key: C Major
Etude Title: Mango Bay
Tempo: Quarter note 170-190
Play from Beginning to end.
Errata:
Take all repeats, except on D.C.skip m.9, take second ending and jump to Coda as indicated.

Performance Guide:
Mango Bay’ is a lively, bouncy, and groovy four-mallet marimba solo which employs most of our
fundamental stroke types (but focuses mainly on the double-vertical stroke and single-independent
stroke). To prepare for this work, students should make sure to incorporate a regular warm-up routine
in their daily practice that focuses on these stroke types. Julie Davila provides some excellent
examples of warm-ups/technique building exercises on pg. 14 in her Impressions on Wood’ book.

Students should make informed sticking choices. These should be determined by what feels
appropriate, allows for the most fluid motions, promotes accuracy, and produces the best sound
quality. Be consistent with sticking patterns as motives repeat or return throughout the work. Note
that there are several viable options for stickings, choose those that work best for you! Do note the
suggested sticking for m. 18.
The 7/4 time signature with syncopated endings of each bar can be confusing at first, but with
consistent metronome work it can quickly become comfortable for the student.
It is important that the performer does not overplay the dynamics. Fortes should be full, controlled,
and appropriate to the mood of the piece. The marked senza misura should also be controlled and
not be too e treme (we must still be able to feel the rhythm that is printed in the music). A medium to
medium-hard set of mallets that produce a round and full tone would be appropriate for this piece.

Percussion - Timpani
Book-Editor Title Publisher Edition
Orfaly St dies in Copper -15 Orchestral Etudes for Timpani C. Alan Publications 15020 (2008)

Selection 1
Page(s): 6-7
Key:
Etude Title: Etude #2
Tempo: Dotted Quarter Note = 70-80
Play from Beginning to Ms. 61.
Errata:
Do definitely take the repeats.

Performance Guide:
This etude focuses on one of the most common rhythms found in classical music (the dotted eighth -
sixteenth - eighth rhythm); also known as the tim-pani rhythm. Rhythmic integrity of this motive is
important. Sticking for this rhyth should be consistent, when possible, to maintain a similar
inflection or stylized interpretation throughout the etude.

Double stickings, while note often used on the timpani, are occasionally needed in this etude to
facilitate the musical needs. These doubles need to be executed as evenly as possible.

Rhythmic clarity can become an issue with this etude, therefore, a medium-hard mallet is suggested.

The contrast between accented and unaccented notes should be clearly heard throughout this etude,
but make sure to not overplay accents. Long melodic phrases can be effectively demonstrated with
control of dynamics through pacing.

Your ability to play mm. 56 - 58 should determine your starting tempo.

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 Etude #2
Inspiration for this etude comes from a very important rhythm ( otted eighth, sixteenth, eighth) found in
Beethoven's Symphony No. 7. This rhythm is also found in Beethoven's Symphony No. T (but m 3/4) and
ch ikovsky's Symphony No. 4 (but rhythmic lly inverted). Ense bles often struggle with this rhythm. Inste d
of sounding triplet-based, it often sounds like a duple rhythm. It is often the job of the timpanist to be a
"rhythmic cop" and to ensure this rhythm is interpreted correctly. The technical challenge of b rs 56-59 should
dictate the tempo for this etude.

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