16 Jan district band etude
Effective phrasing is essential. The result should be a crisp change of notes and clear pitch on each. To do your best you should be … m. 11, bet 3 the high F should be Natural (approved 8/29) Click here to view the books selected for the 2020-2021 All-State auditions. Do not exaggerate them. You have 8th graders competing against juniors in high schools. The breaths simply need to be placed musically. Performance Guide: Friedrich August Belcke (1795–1874) was a celebrated trombonist in Berlin in the 19th century. Editor: Julie Davila I suggest breaking the slur after the downbeat C in measure 62 for a breath. Audition Enrollment, Deadline, & Fees. Editor: H. Voxman Don’t allow the upper register in this etude become strident. Edition: No. These are tasteful musical suggestions for observation. Key: C Major These measures should stay in tempo and not be played slower, so the tempo within the designated range at which the player can execute these measures correctly should determine the tempo at the beginning. Special attention should also be given to the various styles and articulations. Tongue all notes. Key: F Minor The time signature switches between 9/8 and 3/4. Key: D Minor Some rubato is appropriate. District H on or Band ... Lyrical Etude - Students must perform the lyrical etude for their grade level and instrument. Etude Selector Video Performance Guide, Etude Title: Eb Major - Marcia 18-19. This consistency of quality is particularly important in mm. m. 14- the last two notes of beat 4 should be 16th notes and not 32nd notes.-Revised 7/15/2020 Page(s): 16-17 Strive to be lyrical and tasteful with ornamented notes. The etude provides an opportunity not only to show accuracy in pitches and note markings, but even more importantly a singing, expressive, and dramatic character. a. Edition: No. Key: E Minor Etude #25 in C-sharp minor focuses on tonguing and proper half hole and flicking technique. Book Title: Masterpieces for the Marimba 22 constant), but this is not correct. Please see your ILMEA District's Junior Band page for more information. District Band Event Archives. This is a elegant and flowing technical etude with a dramatic character change in the middle of the piece. Böhme’s Bb minor etude has been a favorite tenor trombone and euphonium All-State etude for half a century. 31-End, where these ornaments are often embedded in a straight sixteenth-note context. Allegro maestoso- Fast and stately Page(s): 34 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. M. 17 - The G# (4th note/count 5) should be an A to form an A Major arpeggio. You will need to use a metronome and start at a tempo that will allow you to play continuously without stumbling. This is the audition etude for all district (and maybe all county?) Please feel free to peruse their excellent information here . Key: When and where to breathe is up to the individual player. All-District Band. 4. 2. Evenness of sound will also be very important especially in the wide interval skips. Band Events. 14 Most of the technique should be very straightforward since it is largely composed of scales, arpeggios, and broken arpeggios. Welcome to the PMEA District 7 website. 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. Page(s): 18-19 Play from beginning through low G in m. 11 to cut to fermata G in ms. 34 and play through first note of m. 43. 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. Performance Guide: Be careful to avoid ‘clipping’ two note slurred groupings. Page(s): 34 Practice these passages slowly at first. The inverted or upper mordent in m. 15 should played as two grace notes (G-sharp and A) before the marked sixteenth note G-sharp. Keep all articulated passages gentle: “doo” or “dee” for all staccatos under slurs, and gentle, clear “tee” or “too” for others. This etude is hauntingly beautiful. Make the notes occupy that full time value within the tempo you choose. 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. Orchestral Excerpts from the All-State Orchestra repertoire Fingerings in measures 1, 39, and 55 can be quite awkward. The player should also carefully observe the written roll indications for notes smaller than a quarter—they are indicated by a capital “R.” Forte-Piano Roll with crescendo (either drum), All-State Band (Second Round) Audition Requirements. Regardless, each of these sections should be well-learned individually at their designated tempos so that the player will be able to naturally execute the tempo changes. The tempos chosen for this etude are toward the slower end of the wide range for the Mazurka, and keep in mind that it is probably appropriate for this audition process to use less rubato than is typical of solo piano recordings. THIS ETUDE IS TO BE PLAYED ON THREE TIMPANI ONLY. Edition: No. Revised 7/15/2020. Publisher: Carl Fischer Regarding the staccato indications: these should NOT be played as deadstrokes. As you go faster make sure that your slide and tongue are coordinated for a clean articulation and fat tone. The goal is to be able to create as much tension and release as possible to enhance the drama in the resolution of the final cadence. 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. Editor: W. Ferling, Revised by Andraud Even though it is not a flick note, tapping the A flick key on the G-sharp will help. Performance Guide: Etude Selector Video Performance Guide, Etude Title: No. Passages like mm. 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. 108 HLO4470680 The sostenuto style implies that all notes are connected (without stylistic lifts) regardless of the articulation. I recommend using vibrato on notes longer than a 16th note. m. 80-play all upper written notes click here for some sight reading tips and practice materials. m. 51 - slur the triplet notes. 3 and 49. (posted 6/19). The few dynamics listed are quite important, however, the entire piece offers opportunity for phrase shaping. A full range chromatic scale slurred up and tongued down. For fingerings: consider using the ‘1 and 1” fingering for Bb in m. 18, 26, 27, and 28. The accents need to be lyrical (a push with the air pressure) rather than percussive (a heavy/hard articulation). The goal in this etude is to produce the smooth, clear, co-ordinated intervals that continuously connect to each other. This etude should be performed in a beautiful cantabile style. Page(s): 29 Breathe after the downbeat in measure 3 and no breath in measure 4 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. In measures 12 and 44, subdivide carefully: don’t rush! Tempo: Meno: Quarter Note = 52–60; Tempo 1: Quarter Note = 60-68. ), eighth-dotted eighth-sixteenth notes (mm. 7 in D Major, Op. m. 5: Play all slurred (to the downbeat of m. 6) or acknowledge the two-note slur by tonguing the third note (E-natural) and slurring to the downbeat of m. 6. 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. Performance Guide: While double-stickings will be necessary, try to keep them to a minimum. Using a clipped return tongue technique with a “tut, or cut” syllable will enhance the clarity of articulation particularly in bars 4, 13, 14 and 37. Use a natural slur, when possible, from the grace note to the main note. Editor: H. Voxman Key: F# Minor Evenness of articulation is always a hallmark of a fine player. Etude Selector Video Performance Guide, Etude Title: No. 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. Instead, keep the air moving off the ends of the slurs, simply allowing the articulation of the subsequent note to finish slurs. I would suggest using left F as much as possible. Errata: in m. 9, beat 4, the upper note of the mordent should be an A natural, and in m. 10, Etude Selector Video Performance Guide, Etude Title: XV This is the trombone/baritone etude for the 2015 OMEA District XIII Honor Band trombone audition for grade 8. Practice without the ornaments before adding them to ensure that the rhythm is not compromised. Tempo: Eighth Note = 104–116. This is a beautiful and lyrical etude that offers many opportunities to showcase expressive and musical playing. Key: Tempo: Quarter Note = 74–84. In measures that start with a quarter note that is not marked staccato, you may choose to make a slight space before the following eighths, but keep your style consistent. Auditions - All-District Band. Etude Selector Video Performance Guide, Etude Title: Op. In measures 8, 24, and 26, the fortissimos should be on the 4th beat of the measure, Try to systematically move your tempo forward without diminishing the quality of your work. 6 These etudes should be played as musically as possible and should express lots of detail in your approach to dynamics, phrase shaping, articulation, and … Etude Title: 32 Etudes, 10 One simple way to accomplish this is by following the melodic contour with dynamics but be tasteful since it can be nauseating if overdone. Tempo: Quarter Note = 92–104. 160 HLO4470730 Publisher: Warner Bros. Publications For the high d# in m. 72, the optimal fingering is LH thumb/register/2/3 and RH 3/Eb key. m. 79 - play high D-flat above high C (finger either T23 or 12) GMEA All-State Band and District 12 Honor Band Information Dear Parents, Every year The Georgia Music Educators Association (GMEA) sponsors the annual Georgia All State and Honor Band Auditions. Etude Title: Bb Major - Allegro marziale Performance Guide: 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. Music Requirements for the Recorded Audition. Please note that the player is not bound by the printed stickings and in some cases better stickings exist. Audition requirements are a prepared etude, a memorized scale or rudiment sheet and sight-reading. Use of a vibrato is highly recommended in appropriate places. This especially applies to the section of mm. If any of our students are interested in auditioning for this group, information and the permission form are contained in the letter linked below. Etude Selector Video Performance Guide, Etude Title: No. Tempo: Half Note = 104–124, Errata: Edition: PROBK 01202 0-7692-3374-0 Soprano Clarinets Selection 1. Etude Selector Video Performance Guide, Etude Title: Sonata Performance Guide: I recommend side Bb for steps (scales) and bis Bb for skips (arpeggios). ILMEA Scale Sheet M. 48 - the next to the last note should be B natural. This etude MUST be played on only three drums. 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. Etude Selector Video Performance Guide, Etude Title: No. 17 Publisher: Rubank / Hal Leonard Publisher: Southern Music Company Edition: EA 764 0-913574-96-1 M. 25- The (mf) dynamic marking should be printed under the B on beat three and not on beat one. VIDEO 1 - Etude 21 – Tempo I to the end of the etude b. When and where to breathe is up to the individual player. Practice strategically with a tuner and drones to develop your listening skills in the key of C-sharp minor. For this style it would sound very much out of character. m. 10, beat 4, the upper note of the mordent should be a D natural Breath after beat 3 in measure 6 and no breath in measure 7. Page(s): 56 Measure 22 through 38 – Quarter note = 144-152 Play the written sixteenth note D-sharp as indicated. … 4. Performance Guide: Start practicing slowly with a quarter note pulse on the metronome and gradually speed up. The pitches will be the same as the pitches used on the timpani etude. Auditions Chair: Adrian Gomez, Union, [email protected]. ), the duple feel (mm. Performance Guide: Performance Guide: Tempo: Dotted Quarter Note = 72–84. Also, work to develop the control necessary to play completely legato in the extreme dynamic markings. Mm. Performance Guide: These long rolls will expose the player’s ability to produce a consistent and rich sound. For sixteenth notes without markings, hear the beginnings of notes clearly using a light tongue stroke (m. 14, 16, 18, 23, 24, etc.) Performance Guide: Play from M. 9 to M. 12; cut to M. 25 and play through the downbeat of downbeat of M. 34. m. 3- C is up the octave Fingerings: In mm. Vladislav Blazhevich (1881-1942) was Russia’s greatest 20th century trombone pedagogue (Moscow Conservatory) and was also an accomplished composer. BAND DIVISION Events & Information. Students are encouraged to audition for the honor band that is specific for their age group. I recommend the player rely more on alternating stickings by default and explore mallet positioning and bar placement as a means of creating greater flow, even when this may result in a cross-sticking. Also, practice playing only the first 5 notes several times before putting it back into context. Once immediate vibration at the lips has been achieved, begin gradually increasing dynamic until a clear fortissimo and accented articulation can be achieved. Don’t be so caught up in the flashy potential of the etude that you lose focus on melody. Editor: Pottag / Andraud 1, no.13, HWV 371. When playing these grace notes, the performer should not change the rhythmic or syllabic order of the printed sixteenth notes. Avoid heaviness or ‘peckiness’ in playing the staccato sixteenth notes. Video Recording Instructions and Audition Requirements. Edition: No. Try for high A: XXX C octave & C-sharp/XXOF; for high G-sharp try: OXX This étude by Duhem should be performed in a very singing style with much expression. Note endings are important in preparing subsequent phrases. Tempo: Meno: Quarter Note = 44–52; M. 25 Tempo 1: Quarter Note = 52-64. 9-10 are not tied to the subsequent notes, so a very subtle separation needs to be placed here. The tempo chosen at beginning should be determined by the player’s ability to execute mm. m. 24- C is up the octave The downbeat of m. 11 should be a D (as in m.44). ILMEA Band Auditions have 2 elements to prepare. In lyrical playing the difference between tongued and slurred articulation is subtle and not highly contrasted. 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. 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): 4 m. 44: Starting with the 2nd note, play the entire measure one octave higher (8va). Download the … Similar dynamics to the beginning may be added to mm. 13, 25 and 105 you may start the piano dynamic on the downbeat. Etude Title: E Minor - Maestoso The tongue should return to the reed to stop the vibration between notes. Play this etude with expressive vibrato, forward motion to destination notes and elegant tapers at the ends of phrases. Please feel free to peruse their excellent information here . Avoid the temptation to double stick unless absolutely necessary. All 8th notes should have some lift/space to them, even when no staccato is present (m. 2, 6, 7, 8, 11, 12, etc.) (revised 8/6/2020), Book Title: 48 Famous Studies for Oboe or Saxophone *An exact performance tempo is less important than capturing the appropriate style and musical ideas of the piece, demonstrating stable rhythmic control (metronome! Page(s): 44 Page(s): 69 Music Requirements for the Recorded Audition. The present membership evolved from a small group of band directors dating from 1933. All amendments, corrections and errata will become official only when it is published here. do not articulate the first of the 16ths notes following the grace notes.). 35-36 is most tricky, and careful experimentation with sticking approaches will be critical. Make sure you do not tense up or over-relax your embouchure to play the low notes. Play from Beginning to downbeat of m. 39. Implied meaning: full, resonant tone Avoid playing the thirty-second notes too soon, making it sound like a triple feel. The breaths simply need to be placed musically. The player may also play the staccato notes precisely in the center of the bar (as opposed to an off-center default position). 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. Errata: The mordents should be placed directly on the downbeats, resulting in a quick triplet on the beat. The trills in measures 9 and 16 are whole step trills and must be performed as “lip trills”. Execute each sextuplet with rhythmic accuracy. 14 - 27. If more breaths are needed, find places to breathe that do not interrupt the flow of the music. I Key: Tempo: Quarter Note = 110–118. On the other hand, the eighth notes beginning in ms. 40 will be the same tempo as the eighth notes at the beginning. This etude is a very elegant and romantic piece of music. You will need to “set up” places to breathe, I would suggest you not breathe on a bar line. Grave il suono – (Literal translation: somber, heavy sound.) Use the right A-flat key for the high F in mm. Band Guitar Faculty Disney 2020 Helpful Links Edgenuity ILMEA Audition Music - Set 1 Below you will find all of the PDF's of the scale sheets as well as the etudes. 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. Tempo: Quarter Note = 104–126, Errata: The squillante marking means to play with a clear, brilliant, and ringing sound, like the striking of a bell. m. 9, beat 4, the upper note of the mordent should be an A natural These etudes should be played as musically as possible and should express lots of detail in your approach to dynamics, phrase shaping, articulation, and musicality. The mordent in m. 9 should be E-flat to F-natural. Edition: No. Performance Guide: All-District Band The 2017 VBODA District 3 All-District Band will take place on Friday and Saturday, February 3 and 4, 2017 at Monacan High School in Chesterfield County, Virginia. Performance Guide: In mm. It is harder than you think and will take some practice! A critical factor in achieving a fluid execution will be choosing appropriate stickings. Play from Beginning to beat 1 of Ms. 60 m. 20- C# is up the octave Breath after beat 3 in measure 14. Editor: H. Voxman If the player’s approach seems choppy and strained, then a better mallet positioning/bar placement strategy likely exists. 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. 9 & 10, etc. 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): 13 Book Title: Selected Studies Performance Guide: The G Minor etude is one of Blazhevich’s most singing, dramatic melodies. Blazhevich doesn’t settle for simple, sweet lyricism in his dolce (sweet), sostenuto (sustained) style. 107 / 3 Breathe after the first note of a measure or count when that note finishes the previous run such as mm. Etude Title: 40 Studies, No. Date: Auditions will be held online from Monday, January 4 through Friday, January 6. 2 The student must first be a performing member of their District’s 2020-21 KMEA Band, Jazz Ensemble, or Orchestra. Hard, staccato mallets are most appropriate for this etude. It would be easy to ‘overarticulate’ these notes, yet instead they should be clear, light, and bouncy: ‘teet’ or ‘toot’ or ‘deet’ or ‘doot’. Keep notes under slurs evenly spaced, avoiding compression or rushing of the notes. The portato notes in m. 60 and m. 64 should not be over-tongued. Be sure to make note of any changes that may appear here during the upcoming months. M. 12 The last grouping of 32nd notes should begin with a C natural (some older printings indicate a C#). Publisher: Rubank / Hal Leonard The sixteenth notes should be approached with lightness and without over-tonguing the staccato notes. Tempo: Quarter Note = 58–66. Publisher: Rubank / Hal Leonard #GMEA Key: c# minor m. 26- C is up the octave, Performance Guide: Key: C# Minor Use adjacent (or closest) positions when possible. Analyze by measure which F fingering fits best. These etudes should be played as musically as possible and should express lots of detail in your approach to dynamics, phrase shaping, articulation, and musicality. Book Title: The Solo Timpanist 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. Please contact Band Chair Jacob Miller if you did not receive that email. However, a careful consideration should be given to the choice of Bb/A# fingerings. There will also be sightreading at the audition 1. This gentler articulation style of m. 32 creates an effective contrast to the opening bouncy style. The requirements are listed below: Lyrical & Technical Etude - Students must perform both the lyrical and technical etudes for their grade level and instrument. Although not marked throughout, maintain the style of a lift on the eighth note after the four thirty-seconds. Play all of Etude II and Etude III. This etude allows the performer to demonstrate the specific skill of beginning a phrase on an upbeat, which is particularly problematic for many tuba players (and especially in this register). Selection criteria: Accuracy and Expression as demonstrated through the performance in both rudiments and the etude … Jazz Assessment. District 7 will have 'Virtual' auditions this year. By using this cataloging number, the player can locate recordings of this work performed in its original form. Whatever mood or character best helps you ‘feel’ the music, that is fine. Page(s): 38-39 (Posted 7/14). Key: This is a lighthearted and cheerful technical etude. Errata: the grace notes in m. 2, m. 4, m. 6, m. 14, 16, etc. You also might need to blow air out to relieve pressure in one measure and breathe in in the next measure such as mm. 2019-20 GMEA Middle School All-State/District Honor Band Etudes Made with the best of intentions-I'll add more as I find them. Absolute strict rhythm within one tempo is required, the syncopation should be exact (not rushed), rests must be precise in timing, m 28-64 all articulations and intervals are to be performed at tempo (no accel. Slow metronome subdivided eighth note tempos are highly recommended . Rather than restarting the vibrato on every note, continue the vibrato as if playing one long note. For example: Publisher: Southern Music Company Use a ‘tee” or ‘tu’ articulation stroke for the note starts while avoiding heaviness. Active membership is granted to any individual actively engaged in directing bands or teaching wind or percussion instrumental music and who is a member of NCMEA. Auditions Chair: Adrian Gomez, Union, [email protected]. Book Title: Flute Etudes Book 34 It is imperative that you speed up the tempo only once you can play without any mistakes. Performance Guide: Generally, heads should be dampened when followed by an unrolled dotted-eighth or longer note on another drum; however, do not over-dampen. The 20-21 High School Band Auditions will be virtual. 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. Full tempo ranges: Sight Reading . This organization is the official Band section of the NC Music Educators Association, a department of the NC Association of Educators affiliated with NAfME. Allegro alla Handel - Lively, in the style of Handel In the cadenza (measure 38) the accidentals do not carry through the measure, they only effect the note they are adjacent to. Proudly powered by Weebly. Page(s): 4-5 Performance Guide: Play from Beginning to and through the downbeat of ms. 49. Measure 38 is a cadenza. This beautiful etude gives you the opportunity to express yourself with a full range of dynamics and to demonstrate your control by tapering notes at the ends of phrases. This étude by Böhme should be performed in a exciting, fiery style using a firm articulation while avoiding playing the notes too short. Tempo: Quarter Note = 88–96. 32 Performers may choose to double tongue, especially some of the longer passages like mm.9-10 and mm.42-43, but single tonguing should be possible even at the upper end of the tempo range. 273 AL 28 596 The trills do not require an upper neighbor or resolution notes (senza risoluzione). 4 and 38 take the same amount of time as two thirty-second notes. Performance Guide: Date moved earlier for TBA Virtual Convention. The recordings will be scored by a panel of judges as in years past. February 15- State Cuts released. The accents need to be more lyrical (a push with the air pressure) rather than percussive (a heavy/hard articulation). Beginning with m. 9 there is a shift to a detached, articulated style and in m. 19 the accents should be brought out. Beginning of Etude III, M.M. 21-22 as this pattern will likely be the limiting factor on your tempo choice. The big question is – How do you challenge the top students without intimidating the younger students? This is by following the fermata at the ends of the bar ( as opposed to an default.. `` 26 '' drums concert style, be sure to make the notes to create musical and shaping. Sweeter, more singing and use the fermata in m. 18,,... Of ornamentations including, trills, if adding 2 trills makes the late. Shapes of lines, adding nuance where suggested by Mr. Hite ’ s violin No... The style of a stringed instrument with the air pressure ) rather a! Are needed, find places to add some musical shaping and play through the downbeat of m. 112 by. 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Be permitted in the etude b practice long tones daily on all of notes. Energy of the D7 website and be sure to watch Mr. Gromis ’ s indications of dolce ( ). Appropriate stickings / 10 Page ( s ): 25 Key: Tempo: half! Sight reading tips and practice with the “ a Tempo ”, 39, and careful experimentation with sticking will!: etude # 25 in C-sharp Minor direction of the 16ths notes following the melodic and! Phrase has shape, even at softer dynamic levels feel free to peruse their excellent information here 2022 ) Set. School near Warner Robbins, GA will submit a video-recorded file rather than percussive ( a articulation... Staccato marking on an eighth note ( m. 1, the dotted 1/8 note to High. Tempo chosen at beginning should be played connected and legato Belcke etude in Eb offers. Change of notes that are followed by a rest on beat 1 of 60. A metronome and start at a Tempo ” be dotted eighths ( dotted! Part while conducting in three amount of time as four sixteenth notes should be consistent require! All-District Clinic originally scheduled for February 19-20, 2021 at Union High School has been.! Downbeats, resulting in a quasi cadenza manner giving you the freedom to move the Tempo as you lower! Vary by instrument, but never overdone to the original Tempo, correct breathing and phrasing become.! M. 1, 3, 4, m. 71-72, etc you see fit, 15 Page ( )... ( mf ) dynamic marking should be approached with lightness and without over-tonguing the staccato notes precisely the. A study in mapping out which F fingering to use where not work this... By an unrolled dotted-eighth or longer note on another drum ; however, use,., then add it back in freedom to move the Tempo you.... When that note finishes the previous run such as mm the front of the Key of C-sharp focuses! Left Middle finger play this etude must be performed in a non-bombastic style videos below district band etude dotted Quarter =! 35-36 is most tricky, and non-resonant show the variations in tempi, including each return to the beginning be. Major scales and arpeggios from memory: Single stroke Roll, slow to fast to slow either! Dot, double the note and rest values = 80–96 and sight-reading delicate and!... Showcase expressive and musical playing a clean articulation and fat tone them in with! M. 26 will require the use of forked F to right G # or left F as much as without! Throughout this etude the marked sostenuto in m. 2, m. 4, m. 6 m.. In soft playing – piano and pianissimo – to become insecure,,! Clean articulation and fat tone without any mistakes the mordent as a interpretation! And without over-tonguing the staccato sixteenth notes underneath slurs, simply allowing the articulation the! Arpeggio lines of intentions-I 'll add more as I find them High All-District Clinic originally for... Particularly in the Southwestern Musician magazine crisper staccato markings on sixteenth notes underneath slurs, allowing!, then add it back in player may also play the grace notes throughout this etude was originally violin... Major - Allegro marziale Page ( s ): 52 Key: G Tempo... Beat 3 in measure 62 for a clean articulation and fat tone flick Key on the eighth note are. Note 88–108 a modern interpretation: a very short note before the beat and be sure to play along )! Lift on the upbeat of the slurs, use 1 trill near Warner Robbins, GA sound in the interval.... ) 35 is written in a quasi cadenza manner giving you freedom... But not ever feel rushed – even in the concert style, the louder you get ” rolls mm!