district band etude

Page(s): 20-21 Please note that the player is not bound by the printed stickings and in some cases better stickings exist. Editor: H. Voxman Publisher: International Music Company This etude is full of fast moving energy. 31-End, where these ornaments are often embedded in a straight sixteenth-note context. Performance Guide: be an A natural. 6, 22, and 26. Please contact Band Chair Jacob Miller if you did not receive that email. In mm. Tempo: Quarter note 56–68, Errata: Teach your body the comfort and effortless you desire in performance by starting your preparation at half tempo or less! Publisher: Carl Fischer This étude by Gatti should be performed in a march style using a marked articulation with extra care being given to emphasizing the extreme contrast in dynamics. Breathe on a tie as in mm. Make sure we can see your hands and follow all instructions from the videos below. Clarity of start is a primary consideration in this etude. 46 - 59. m. 4 - 3rd note of beat 3 and 4th note of beat 4 should be B-flat; 2nd note of beat 4 should be E-natural (Revised 7/14) That combination of talents created some of the most beautiful, engaging study materials for low brass. Etude Selector Video Performance Guide, Etude Title: No. Band directors will record eligible students (mp3 format) and submit a “one take” unedited audition which includes all scales and etudes. Observe the dynamic direction that is written in between mm. This will make the etude flow better with much more playfulness. A full range chromatic scale slurred up and tongued down. Practice these patterns in both articulated and legato styles so that you are prepared for both the main melody and its con brio style and the middle passage’s long legato lines. It is a study in mapping out which F fingering to use where. Non troppo brillante – Not too brilliant/bright/fast District Audition. I suggest breaking the slur after the downbeat C in measure 62 for a breath. Tempo: Quarter Note = 88–98. 77 Editor: Pottag / Andraud 10 and 42, grace notes are played on the upbeat of the 3rd 8th note of the bar. Also work for evenness of tone color in all registers. The section from m.9 through m.16 is especially tricky in this regard, and the performer must be accurate in hearing the pitches mentally in order not to accidentally interchange first-valve Cs and E-flats or first and second-valve Gs, Ds, and B-naturals—a very easy trap to fall into. The tempo chosen at beginning should be determined by the player’s ability to execute mm. The time signature switches between 9/8 and 3/4. Start practicing with a slow 8th note pulse at 60bpm or slower and gradually speed up to 152 then switch to a dotted quarter note pulse at 50 and speed up gradually to a desired tempo. Regardless, do not overdo it or you will risk creating a harsh sound. A thoughtful approach to bar placement will require the use of both the edges and middles (or more precisely, off centers) of the bars and careful planning of when to use each. The turn in m. 8 is on the upbeat of the last 8th note of the bar. The sostenuto style implies that all notes are connected (without stylistic lifts) regardless of the articulation. The piece is dominated by staccato and accent markings but should not be played so short that those markings interfere with the linear flow of the tuneful phrases. many contra bassoons. m. 14- the last two notes of beat 4 should be 16th notes and not 32nd notes.-Revised 7/15/2020 Performance Guide: The final three eighth notes of ms. 9, the final two eighths of ms. 10, and the downbeat of ms. 11 require melodic tuning on a single drum—that is, each of these pitches is played on the 26" drum. Key: Available July 13 at Noon. Tempo: Eighth Note = 120–138. The accents should be dry with slight decay m. 35, etc (the low C’s are not the focal point of this section). Etude List. Etude Selector Video Performance Guide, Etude Title: No. Accents throughout the etude should be played with vibrato and depth, not a harsh articulation. Major scales and arpeggios from memory: Single Stroke Roll, slow to fast to slow (either drum). (posted 6/19). Publisher: Mitchell Peters In m. 25, beat 2, the last thirty- 3. Available April 15 at 8 am. This etude presents the challenge of tonguing and slurring cleanly and evenly through swiftly moving scales and arpeggios. Tempo: Quarter Note = 110–118. Key: G Major THIS ETUDE IS TO BE PLAYED ON THREE TIMPANI ONLY. This is the trombone/baritone etude for the 2015 OMEA District XIII Honor Band trombone audition for grade 8. m. 20- C# is up the octave 11 This selection is a transcription of second movement from George Frideric Handel’s Violin Sonata No. Even if you are hearing and feeling a correct sense of pulse, overarticulation and overblowing in the low register can create delays in the sound which make your performance sound out of time. Performance Guide: click here for some sight reading tips and practice materials. ILMEA Senior Level Scale Sheet. Edition: RLP-10052000 Performance Guide: Key: a minor Soprano Clarinets Selection 1. The eighth-note triplets present a challenge in terms of achieving a clean, crisp quality and also getting good, centered pitch and tone on each note. Performers are encouraged to play boldly and enjoy the dynamic and expressive nuances in this caprice. This étude by Böhme should be performed in a exciting, fiery style using a firm articulation while avoiding playing the notes too short. Both these strategies can produce slightly more articulation, but the effect will be subtle; and especially at softer dynamics, the effect will be almost indistinguishable. The playful spirit is created by the bouncy articulations and generally, the end of slurs followed by staccatos needs to be released with a light lift except when the staccato is on a beat (mm. There are breathing challenges with slurs in places that should not be broken to catch a breath. Music Requirements for the Recorded Audition. Click the links below for information regarding each event: State Marching Assessment. Tempo: Quarter Note = 88–96. 107 / 3 For this style it would sound very much out of character. Special attention should be given to mm. 36 There are also recordings of all the etudes. Tempo: Quarter note 72–80. The piece requires careful attention to weight differential between the weighted, emphasized accents and the lighter, crisper staccato markings. Break the slur/tie and breathe after beat 1 in measure 23. Play from Beginning to and through the down beat of ms. 80. Tempo: Dotted Half Note = 50–64. Solo: (1 to 1.5 minutes) Performance of excerpts from Lion’s Band, All-State or District Band etudes is strongly encouraged. All-District Band. Key: E Minor Book Title: Masterpieces for the Marimba Key: E Minor The goal in this etude is to produce the smooth, clear, co-ordinated intervals that continuously connect to each other. The present membership evolved from a small group of band … Finally, the descending lines with dotted rhythms in mm. At the same time, listen for the elegance of articulation exhibited by pianists, which may be especially important to emulate in the staccato articulations in mm 51-58. Play the grace notes just slightly before the second beat in those measures for best results. Make your expressiveness seem natural and spontaneous, not contrived. Beginning to measure 17 – Quarter note = 174-182  District H  on  or  Band ... Lyrical Etude - Students must perform the lyrical etude for their grade level and instrument. Make sure you do not tense up or over-relax your embouchure to play the low notes. Page(s): 34 It is intense energy with lots of musical shaping. For trills, if adding 2 trills makes the resolution late, use 1 trill. The F# to G# trill in m. 41 is easily done by holding the G# key down with the F# and trilling the F# key. It is also a good idea to sing the melody while conducting. Performance Guide: This organization is the official Band section of the NC Music Educators Association, a department of the NC Association of Educators affiliated with NAfME. Publisher: Southern Music Company Tempo: Quarter note 56–62. Etude Title: 32 Etudes, 15 Errata: in m. 9, beat 4, the upper note of the mordent should be an A natural, and in m. 10, Key: m. 36 add decrescendo to beats 3 and 4. BAND DIVISION Events & Information. 108 HLO4470680 Grave il suono – (Literal translation: somber, heavy sound.) Don’t allow legato slurs in this piece to overly approach glissando. 21-22 as this pattern will likely be the limiting factor on your tempo choice. You want the piece to move forward without being dreary, but not ever feel rushed – even in the rubato. Tempo: Quarter Note = 108–120. m. 79 - play high D-flat above high C (finger either T23 or 12) Grazioso – Graceful The requirements are listed below: Lyrical & Technical Etude - Students must perform both the lyrical and technical etudes for their grade level and instrument. Fingerings for the highest notes may vary by instrument, but the following fingerings work well for This is intentional. Part of the issue is rhythmic, and you will need to be very careful to train your ear to hear these phrases in time. Performance Guide: Publisher: Rubank / Hal Leonard (Revised 7-26-2020), Etude Title: No. Page(s): 44 Page(s): 32 Pennsylvania Music Educators Association is a statewide nonprofit organization of over 4,500 members, dedicated to promoting the musical development of all Pennsylvanians. Work on initiating sound in the low register, beginning with low B-flat and working your way down to the low F and beyond. Do not transpose to Eb Horn. Page(s): 10 Audition requirements are a prepared etude, a memorized scale or rudiment sheet and sight-reading. I recommend using vibrato on notes longer than a 16th note. In scale passages remember to adjust your half holes for adjacent F-sharp and G-sharp, using a larger opening for F-sharp and smaller opening for G-sharp, and flick as many A-naturals as possible, taking care to close your half hole completely to avoid distortion. Make sure moving eighth notes lead. Using a “doo” or “dee” syllable will help. Click here to view the etudes selected for the 2020-2021 All-State auditions. Book Title: Selected Studies for Oboe For the 2020 Middle School All-District Band auditions, students will submit a video-recorded file rather than play an in-person audition. Tempo: Half Note = 80–96. This etude was originally a violin study, so your job is to mimic bow articulation with the “tongue”. 33 The accents need to be lyrical (a push with the air pressure) rather than percussive (a heavy/hard articulation). I M. 56 presents a unique choice of finger pattern. All-District Band Auditions The 20-21 Middle School Band Auditions have been canceled. All 8th notes should have some lift/space to them, even when no staccato is present (m. 2, 6, 7, 8, 11, 12, etc.) The performer’s sticking choice will influence how successfully this passage flows and how consistent the ornaments sound, particularly in the challenging last measure. Böhme’s Bb minor etude has been a favorite tenor trombone and euphonium All-State etude for half a century. Players may be inclined to make direct relationships between these changes (for instance, making the eighth notes in ms. 21 and triplet eighth notes in mm. Some rubato is appropriate. Performance Guide: It’s one of the qualities of a fine player. Tempo: Eighth Note = 72–80, Errata: Page(s): 17 Page(s): 34 Start practicing slowly with a quarter note pulse on the metronome and gradually speed up. 5, 15, and 24. Tempo: Quarter Note = 112–126- (Revised 7/16/2020). This is the audition etude for all district (and maybe all county?) Etude Selector Video Performance Guide, Etude Title: No. Key: The dotted sixteenth and thirty-second note passages aren’t to be played with much separation, playing these in a more melodic, linear way while still keeping the same firmness in the articulation. Pennsylvania Music Educators Association is a statewide nonprofit organization of over 4,500 members, dedicated to promoting the musical development of all Pennsylvanians. Strive to be lyrical and tasteful with ornamented notes. Sight Reading . Etude Title: Poco allegratto (in 1) m. 51 - slur the triplet notes. Key: D Major Treat the trill in measure 12 as a single upper neighbor and play the beautiful melismatic run that follows with some flexibility. If you are selected for the band, rehearsals will be January 30, January 31, and, February 1, 2020 with the concert on the afternoon of Feb. 1, 2020 at John Champe High School. With nearly every phrase (and often every part of a phrase) in this etude starting off the beat, this error can compound into a frantic-sounding mess. 9, 10, 17, 19, 22 and/or 27. All-State Audition Etudes/Excerpts and Information 2020-2021. There are several things that pretty much every Blazhevich etude has in common with every other Blazhevich etude - 1) repeating rhythmic patterns, 2) repeating harmonic patterns, 3) diminished 7th chords, 4) a repeat back to the beginning melodic idea and 5) no dynamic markings. Also, make note that while all of the triplets are marked staccato in this étude, the dotted eighths and sixteenths are not. This etude is features mixed articulation challenges and control of staccato throughout . Your limiting factor here will be how efficiently you can play the phrase while still ending your last note with beautiful sound and pitch. Should you discover any errata in the music that may have been missed, please notify the State Band Division Chair. Although not marked throughout, maintain the style of a lift on the eighth note after the four thirty-seconds. Even though it is not a flick note, tapping the A flick key on the G-sharp will help. You will need to use a metronome and start at a tempo that will allow you to play continuously without stumbling. Friedrich August Belcke (1795–1874) was a celebrated trombonist in Berlin in the 19th century. m. 32 beat 4 add pianissimo (so it's a beat earlier than printed) Begin the etude in m. 19 at the "Un poco piu lento" at a tempo of quarter note = 76-84. 17 2 Download the … In m. 10, the half-hole G-sharp after the first mordent is a challenging slur. 2. Take time for deep breaths throughout, constantly supporting the airstream for as smooth and connected phrases as possible. VBODA District II. Singing will aid in many regards. Move your effortlessness and quality of performance forward without sacrificing either. Try to systematically move your tempo forward without diminishing the quality of your work. Release notes that are followed by a rest on the rest. Edition: B134 The end product must be musically convincing as well as technically impressive. 18-19. Measure 40 through end — Dotted Quarter note = 116-120 Be sure the opening dynamic is full enough to provide softer contrasts for the mp and p phrases but soft enough to enable fuller moments as well. However, ritards and any rubato should be tasteful, musically appropriate, and lead naturally to the material that follows. There are rhythmic challenges such as the dotted eighth-sixteenth notes following triplets (mm. Edition: B362 Book Title: 70 Studies, Vol. Selection criteria: Accuracy and Expression as demonstrated through the performance in both rudiments and the etude … Breath after beat 3 in measure 6 and no breath in measure 7. Start by learning your C-sharp and G-sharp melodic minor scales so that you think in the language of sharps. Auditions are held at Houston County High School near Warner Robbins, GA. Editor: H. Voxman Continually refine your sound to match your best tone quality in all registers and dynamic ranges. The recordings will be scored by a panel of judges as in years past. This gentler articulation style of m. 32 creates an effective contrast to the opening bouncy style. The grace note C sharp (written with a “trill”indication but played as a single grace note) can be done using the bottom two right upper side keys while holding down the b fingering, or lifting the left thumb briefly off the octave key. The accents need to be more lyrical (a push with the air pressure) rather than percussive (a heavy/hard articulation). Tempo: Quarter Note = 92–120, Errata: The descending lines in m.11 and m.44 pose a special challenge for keeping evenness through the 16th notes, and “blowing through” will again be the key. The few dynamics listed are quite important, however, the entire piece offers opportunity for phrase shaping. Avoid heaviness or ‘peckiness’ in playing the staccato sixteenth notes. Senza risoluzione – Without resolution (trills should not have turns at the termination), Etude Title: Op. 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 striking the head. 10, 11, 12, and 29. Play as written. Proper dampening should be incorporated when appropriate. The tongued articulation should be well-matched throughout the piece in all registers – both in diatonic and arpeggio lines. Page(s): 16-17 The student’s director must be a member of KMEA, will register each audition online, and send the Audition Invoice with appropriate payment to the KMEA All-State Ensembles Manager. Make sure the key and accidentals are applied to the grace notes. First Audition Score Sheets Example Errata: Key: C Minor Key: F# Minor Performance Guide: Performance Guide: Edition: No. m. 12 – 1st note of beat 4 is C-natural. Five ensembles are selected from recorded auditions: a Middle School String Orchestra, a Middle School Band, a High School Full Orchestra, a High School Band and a High School Jazz Ensemble. In m. 22 follow the allargando direction and pull the tempo back slightly, creating space for the three grace notes to be placed before beat one of the following measure. On the other hand, the eighth notes beginning in ms. 40 will be the same tempo as the eighth notes at the beginning. Key: (It is especially helpful to think of the energy of the air at the very soft dynamics.) This extreme, while very difficult at first, will help you to develop control of your airstream making you a much more mature musician. The sostenuto marking at the beginning means to play each note full value taking extra care to connect one note to the next. Page(s): 48-49 If the player’s approach seems choppy and strained, then a better mallet positioning/bar placement strategy likely exists. I encourage concentrated work on roll quality for the long rolls in mm. #GMEA Publisher: Robert King Music Special attention should also be given to the various styles and articulations. Use a ‘tee” or ‘tu’ articulation stroke for the note starts while avoiding heaviness. Play from Beginning to beat 1 of Ms. 60 There are a wide variety of ornamentations including, trills, grace notes, and turns. I recommend side Bb for steps (scales) and bis Bb for skips (arpeggios). :-) do not articulate the first of the 16ths notes following the grace notes.) Page(s): 56 Key: Video Recording Instructions and Audition Requirements. 3 minute time limit. High School Band Wind and Band Audition Excerpts 2020-21 Note to directors: The unison etude listed below was sent out over the SW district HS band email group. Etude Selector Video Performance Guide, Etude Title: No. Errata: the grace notes in m. 2, m. 4, m. 6, m. 14, 16, etc. Play from Beginning to and through the downbeat of ms. 49. Etude Title: Andantino (in 6) The first grace not in measure one is the correct way to play all of the following grace notes and the “trills” in measures 32 and 34. The normal high C sharp fingering can also be used, although it is slow to respond when descending back to the high b. 13, 25 and 105 you may start the piano dynamic on the downbeat. Rubato is also appropriate for much of the piece – assuming it remains tasteful and doesn’t become overdone to the point of distraction or rhythmic distortion. Tempo: Dotted Quarter Note = 72–84. Work carefully to make sure that all slurs sound the same – regardless of the kind of slur they are on trombone. Tongue all notes. One of the most challenging moments in the etude occurs in mm. For fingerings: consider using the ‘1 and 1” fingering for Bb in m. 18, 26, 27, and 28. This selection will truly test the player’s ability to achieve a smooth, relaxed technical approach around the keyboard. In each of these cases, the non-tied rolls should not end with a “clean” single-stroke articulation. At the Meno, perform the mordent as a triplet in the space of the sixteenth. 9-10. (posted 6/19) Don’t allow the soft playing – piano and pianissimo – to become insecure, airy, and non-resonant. 35-36 is most tricky, and careful experimentation with sticking approaches will be critical. All Pennsylvanians recordings of all Pennsylvanians High d # in m. 64 should be... Of ornamentations including, trills, grace notes in m. 2, m. 14, 16, etc G-sharp. Hard, staccato mallets are most appropriate for this etude as a Single upper and! Between notes. ) 32 creates an effective contrast to long and even Quarter note = 60–72 a performing of! 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district band etude 2021