While this is a robust, driving etude, the player should prioritize playing with a full, rich tone and not a harsh, "poundy" one. Key: F Major Don’t allow the upper register in this etude become strident. Page(s): 16-17 District 7 will have 'Virtual' auditions this year. Etude Selector Video Performance Guide, Etude Title: Allegro furioso Etude Title: No. In lyrical playing the difference between tongued and slurred articulation is subtle and not highly contrasted. 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. Errata: However, this is merely Hite’s suggestion; it was not included in Rose’s original edition. Etude Title: Romanze To keep the final C from falling as you taper it, you may hold down the C flick key and possibly add the low D key as well. All amendments, corrections and errata will become official only when it is published here. Performance Guide: It would be easy to ‘overarticulate’ these notes, yet instead they should be clear, light, and bouncy: ‘teet’ or ‘toot’ or ‘deet’ or ‘doot’. This selection is a transcription of second movement from George Frideric Handel’s Violin Sonata No. Errata will not be posted in the Southwestern Musician magazine. Editor: Firth ), eighth-dotted eighth-sixteenth notes (mm. It is helpful to think of planting the first note of the triplet solidly (and this is especially important in establishing the changes in tonality between E major and E minor), and also to blow through the triplet with energized air in order to dig out the middle note. ILMEA Etudes Etude Set I (2022) Etude Set II (2020) Etude Set III (2021) 2. Care must be taken in m. 24 to make the turn a beautiful and natural embellishment of the line. Editor: McMillan Please note that the player is not bound by the printed stickings and in some cases better stickings exist. A full range chromatic scale slurred up and tongued down. (posted 6/19). 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. Choosing audition music for the next year’s band auditions is always tricky. A standard rule on bass trombone is “the lower it goes, the louder you get”. 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. There should be only two shakes, at most, on the trill in m. 12. The technical etude should be very clean, precise, and rhythmically sound. The Belcke etude in Eb Major offers the trombonist an opportunity to display agile technique in a non-bombastic style. This etude could potentially be used as a primer for either of the technical selections, as it helps develop good legato across a wide register. Measure 40 through end — Dotted Quarter note = 116-120 Pennsylvania Music Educators Association is a statewide nonprofit organization of over 4,500 members, dedicated to promoting the musical development of all Pennsylvanians. Revised 7/15/2020. Follow the “landscape” or direction of the notes to create musical and dynamic shaping. All 8th notes should have some lift/space to them, even when no staccato is present (m. 2, 6, 7, 8, 11, 12, etc.) Regardless, do not overdo it or you will risk creating a harsh sound. Those patterns will help to give the melodic lines musical direction and make preparing the etude much easier. This etude should be performed in a beautiful cantabile style. Fingerings in measures 1, 39, and 55 can be quite awkward. Performance Guide: Observe the dynamic direction that is written in between mm. Remember that the sixteenth note quintuplet in mm. In m. 9, the grace note at the end of the measure should be a B-flat (revised 8/6/2020) You will have 30 seconds to study over each 8-12 bar musical excerpt and then perform the excerpt to the best of your ability. Page(s): 17 #GMEA 5. *An exact performance tempo is less important than capturing the appropriate style and musical ideas of the piece, demonstrating stable rhythmic control (metronome! There will also be sightreading at the audition 1. 2. Music Requirements for the Recorded Audition. Edition: No. District Band Auditions. Full tempo ranges: The sixteenth notes should be approached with lightness and without over-tonguing the staccato notes. You want the piece to move forward without being dreary, but not ever feel rushed – even in the rubato. Never let a chosen tempo make you sound like a worse player. Tempo: Eighth Note = 76–88, Errata: 4. Grave il suono – (Literal translation: somber, heavy sound.) ILMEA Band Auditions have 2 elements to prepare. While the etude is written in the style of the Baroque composer Handel (“alla Handel”) the ornamentation should not entirely follow Baroque performance practice. The rhythm in m. 16 is a common stumbling block, and use of the thumb B-flat fingering (compared to one-and-one B-flat) will assist with technical facility through this and many of the passages. Fingers need to be precise while the performer must think of “blowing through” with the air. Tempo: Quarter Note = 96–106, Errata: Don’t be so caught up in the flashy potential of the etude that you lose focus on melody. Publisher: Rubank Tempo: Quarter Note = 104–126, Errata: They will not be short and clipped. (Posted 7/14). The sostenuto marking at the beginning means to play each note full value taking extra care to connect one note to the next. Use of a vibrato is highly recommended in appropriate places. Band directors will record eligible students (mp3 format) and submit a “one take” unedited audition which includes all scales and etudes. Page(s): 48-49 3. The tempo chosen at beginning should be determined by the player’s ability to execute mm. The student must first be a performing member of their District’s 2020-21 KMEA Band, Jazz Ensemble, or Orchestra. Page(s): 4-5 9-16 may even be excellent “mini-etudes” to add to your daily practice and gauge your progress in developing strong phrasing and excellent legato in this range. This is a lighthearted and cheerful technical etude. a. (Revised 7-26-2020), Performance Guide: Piccolo: Tempo: Quarter Note = 60–72. Auditions are held at Houston County High School near Warner Robbins, GA. All quarter notes and larger are to be rolled. Tempo: Dotted Half Note = 60–66. Tongue all notes. Proudly powered by Weebly. Start a new slur on the dotted 1/8 note that only slurs the dotted 1/8 note to the 1/16 note. Study of such recordings is highly recommended: not only will they serve as a model for phrasing and interpretation, but it will also be an opportunity to hear wonderful performances of this music. 35-36 is most tricky, and careful experimentation with sticking approaches will be critical. Tempo: Eighth Note = 104–116. In bars 21, 22, 29, and 30 make sure to observe the diminuendo after the first beat of each bar, avoiding forcing out the high B. Although the time signature is 3/2, it will be easier to think in quarter notes (six to the measure) in order to play the different types of divisions of the beat accurately, with the correct proportions of eighth notes, sixteenth notes, and thirty-second notes. Note endings are important in preparing subsequent phrases. should be approached with a slur (i.e. Use the fermata at the end of m. 37 to regroup and take a replenishing breath. M. 26 will require the use of forked F to left G# or left F to right G#. C octave & C-sharp/OOO; for high G: OXX C octave/OOO; and high F-sharp: OXX C octave/XOO. This is a wonderful opportunity to perform with heartfelt expression, using your most beautiful, singing sound with a wide range of dynamics and characters. This etude is full of fast moving energy. Performance Guide: Beginning with m. 9 there is a shift to a detached, articulated style and in m. 19 the accents should be brought out. Book Title: Flute Etudes Book Key: Most of the technique should be very straightforward since it is largely composed of scales, arpeggios, and broken arpeggios. A copy of your music must be submitted with your audition. Using the Gb valve by itself will make performing this etude much easier. One of the biggest challenges of this selection is the large jumps between registers in mm. This is the official listing of the Band Division All-State Audition Material for 2020–2021. In each of these cases, the non-tied rolls should not end with a “clean” single-stroke articulation. Page(s): 23 Edition: B134 Key: Db Major Fingerings: In mm. many contra bassoons. 44-45, 48-49, and 56-57 are a special challenge, requiring the performer to “blow through” the lines with good connection while being snappy and precise with the fingers. A full range chromatic scale slurred up and tongued down. BAND DIVISION Events & Information. Page(s): 49 (bottom) The mordents should be placed directly on the downbeats, resulting in a quick triplet on the beat. 4 and 38 take the same amount of time as two thirty-second notes. Similarly, the morendo indication in m. 45 means to gradually slow and soften to give the selection an elegant ending. While double-stickings will be necessary, try to keep them to a minimum. Publisher: Southern Music Company 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. When and where to breathe is up to the individual player. 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. ILMEA Scale Sheet EDBDA sponsors the EDBDA All District Honor Band each year in January. The ornaments should all occur before the beat and be played quickly while remaining elegant and clear. It is helpful to use the right hand side trill keys to play trills in m. 26, 30, 51 and the 32nd note turns in m. 49. 4 signifies an upper mordent and is a rapid alternation between the written pitch, diatonic pitch above it, and the written pitch again (E, F-sharp, E), beginning on the beat. Play from Beginning to downbeat of m. 39. m. 79 - play high D-flat above high C (finger either T23 or 12) Tempo: Quarter note 96–104. Instead, keep the air moving off the ends of the slurs, simply allowing the articulation of the subsequent note to finish slurs. Tempo: Quarter note 56–68, Errata: Editor: H. Voxman Key: E Minor Tempo: Eighth Note = 72–80, Errata: do not articulate the first of the 16ths notes following the grace notes.). m. 80-play all upper written notes Avoid playing the thirty-second notes too soon, making it sound like a triple feel. Play from Beginning to beat 1 of Ms. 60 Keep notes under slurs evenly spaced, avoiding compression or rushing of the notes. Breathe after the downbeat in measure 3 and no breath in measure 4 Orchestral Excerpts from the All-State Orchestra repertoire m. 51 - slur the triplet notes. Tempo: Quarter Note = 74–84. The tongue should return to the reed to stop the vibration between notes. It is also a good idea to sing the melody while conducting. The portato notes in m. 60 and m. 64 should not be over-tongued. On the other hand, the eighth notes beginning in ms. 40 will be the same tempo as the eighth notes at the beginning. Performance Guide: The breaths simply need to be placed musically. Play from Beginning to Ms. 52 first note. Tempo: Quarter Note = 112–136, Performance Guide: Throughout the etude, be sure to hear each note of grace notes distinctively, and feel each note underneath your fingers. Most students will find it beneficial to engage in regular scale and arpeggio work across the two-and-a-half-octave range from low E to B above the staff in addition to lip slur and long tone study throughout this register. Likewise in ms. 12, the rolls of the quarter-note triplet should be very slightly separated. Fingerings: The G-sharp above the staff generally speaks better with your whisper key down and a small half hole. This etude presents the challenge of tonguing and slurring cleanly and evenly through swiftly moving scales and arpeggios. The interpretation should be separated and bouncy - not short. Edition: B362 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. The mordent in m. 9 should be E-flat to F-natural. Page(s): 29 Tempo: Meno: Quarter Note = 52–60; Tempo 1: Quarter Note = 60-68. m. 9- C is up the octave Tempo: Quarter note 64–76. If this etude is performed at too slow a subdivided tempo, correct breathing and phrasing become challenging. I recommend using vibrato on notes longer than a 16th note. The piu mosso indication in m. 17 can be interpreted as either a slight increase in the tempo or a shift to a more fluid style (or a bit of both). Breathe on a tie as in mm. Selector/Presenter Committee Note two uncommon terms, which the composer defines in the glossary of her book: in ms. 27, “riservato” (“held back”); and in ms. 30, “riprendendo” (“return to original tempo”—in this case, to the tempo established in ms. 22). Page(s): 96 You will need to “set up” places to breathe, I would suggest you not breathe on a bar line. Book Title: Selected Studies for Oboe Editor: H. Voxman Book Title: Masterpieces for the Marimba Etude Selector Video Performance Guide, Etude Title: Eb Major - Marcia m. 36 add decrescendo to beats 3 and 4. A critical factor in achieving a fluid execution will be choosing appropriate stickings. Bars 41 and 42 should begin with a short return tongue stroke and gradually lengthen to a longer stroke to consistently produce the altissimo f. Etude Title: 40 Studies, No. Make sure your videos are a perfect and flawless as possible. If the player’s approach seems choppy and strained, then a better mallet positioning/bar placement strategy likely exists. Performers are encouraged to play boldly and enjoy the dynamic and expressive nuances in this caprice. 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. 13, 25 and 105 you may start the piano dynamic on the downbeat. The goal in this etude is to produce the smooth, clear, co-ordinated intervals that continuously connect to each other. Play the written sixteenth note D-sharp as indicated. Performance Guide: Tempo: Quarter Note = 92–104. Etude Title: Cantabile alla Moderna This beautiful lyrical etude has multiple rhythmic and phrasing challenges throughout. Etude Selector Video Performance Guide, Etude Title: XV Errata: This etude puts a student’s dynamic range on display, as well as the ability to switch suddenly between dynamic extremes. 17 M. 56 presents a unique choice of finger pattern. Key: G Minor The accents need to be more lyrical (a push with the air pressure) rather than percussive (a heavy/hard articulation). Bb in 5th for measures 22, 25, & 27; Page(s): 27 Etude Title: Andantino (in 6) For staccato markings on sixteenth notes underneath slurs, use a gentler tongue stroke. For Gb in m. 19, 20, and beat 2 of 24, you will need to ‘flop’ the fingering between your RH index finger and middle finger. Usually the C above the staff tends to be flat, the Gs both in the staff and above the staff tend to be sharp (with third valve as a useful alternate fingering), and the C in the staff may sometimes be flat on a four-valve instrument (and always very sharp on a three-valve instrument). In m. 8, use the high F-sharp fingering with the right pinky on the F key rather than the right thumb on the B-flat key since the preceding half-hole F-sharp involves your right thumb. The quick, light (legére), crisp style should be agile and fun! m. 20- C# is up the octave Errata: 467 Yes, bass trombones can play light and delicate!!!! Tempo: Eighth Note = 140–152. Take breaths where indicated, though depending on your lung capacity, you may not need all of them. Begin your practice with your metronome set in eighth notes in order to establish the correct relationship between the eighth note and four thirty-second notes, which is the rhythmic motive for much of the piece. Official site of the VBODA - Virginia Band & Orchestra Directors Association, an affiliate of the VMEA. Etude Title: Poco allegratto (in 1) Key: G Major Etude Selector Video Performance Guide, Etude Title: 4 For example: Edition: RLP-10052000 Make sure the grace notes don’t distort the overall rhythm or lose quality of tone because of their quickness. I recommend playing them in the same register a few times to see how easy it feels and sounds without the octave jumps then play as written while keeping the same ease of playing from before. Please feel free to peruse their excellent information here . As always with staccato don’t let the shortest destroy the resonance of tone. 2020-2021 All-State Auditions Etude Book List. 28-33, generally following the contour of the pitches. If more breaths are needed, find places to breathe that do not interrupt the flow of the music. Tempo: Quarter Note = 120–132. Page(s): 20-21 Singing will aid in many regards. 107 HLO4470710 9-10. Ms. 23 - The dynamic on the half-note B-natural should read “fp" instead of "sp.". Editor: W. Ferling, Revised by Andraud 28-33, generally following the contour of the pitches. M. 17 - The G# (4th note/count 5) should be an A to form an A Major arpeggio. Edition: O4402 0-8258-0914-2 Key: Eb Major m. 25, beat 2, the last thirty-second note should be an A natural The first three lines are an excellent example of subtle style / mood changes in the piece – an opening march style (not without shape), a more majestic forte approach (still with weight differential), and a more lyrical, lighter version in the dolce section. Key: Performance Guide: 107 / 3 This gentler articulation style of m. 32 creates an effective contrast to the opening bouncy style. 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. 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