Snare Play from Beginning to end. Errata: Note: The accel. written in m. 25 should continue all the way to m. 29. The tempo marking at m. 27 is merely a reference point serving as the midway tempo of the accel. (posted 8/5) Performance Guide: This etude is based off of Rimsky-Korsakov's "Scherezade", from the third movement. The opening phrase of this etude comes directly from the snare drum part of the orchestral work, so it would be wise to listen to the orchestral version before jumping into the piece. Soft, delicate, yet precise playing is imperative with this etude. Singing the violin solo part of the original piece will also help to create a lyrical line in the snare drum part. A wide range of dynamics is also used in this etude, so work to clearly establish a wide contrast between all dynamic levels. Rhythmically, pay special attention to the check patterns of the passages using double strokes. Knowing the rhythms your hands play, without the doubles, will insure a proper interpretation and execution of these phrases. Follow the instructions at the top of the page where Firth states, "Observe the sticking, particularly in bars 1 through 12". This is the most common sticking that professionals use on their auditions when they prepare the "Scherezade" excerpt. Also, work on both single strokes and double strokes for the 32nd notes in mm. 13-24 to listen for the clearest articulation of these rhythms. Choose a sticking that sounds and feels the best, then write them in to practice consistency. Embellishment figures throughout should be performed in a way that the primary rhythm is clear. This can be accomplished by executing the grace note figures from a low stick height. While some of the rolls have a release note, some of them do not. Rolls that do not have a release should be played with a smooth, unaccented, and buzzed release ofthe roll. This will allow for a short space before the next note (i.e.: m, 7, 8, 14, and others). Figure out comfortable check patterns for the rolls and experiment with different check patters for different dynamic situations. The goal, overall, is to create a smooth sustain, while staying in time.
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Keyboard (2 Mallet) Tempo: Dotted Quarter Note = 42-48 Play from Beginning to end. Errata: Do not take repeats All dotted-eighth note and longer note values should be rolled. Add a trill in m. 11, on beat 2 Add the bar that is missing from the original composition between m. 15 and m. 16. The rhythm is six 16th-notes and the notes are (G#5, F#5, E5, B5, A5, B5). This measure will be considered m. 15a. Include a gradual crescendo from m. 20 to the forte arrival at m, 24 m. 61 - last note should be E natural, not D natural m. 67 - do not roll beat one Note: M. 47, 49, and 67 - disregard the capital "R" that denotes a roll; there should not be a roll on beats 2 & 3 of m. 47, beat 3 of m. 49, nor beat 1 of m. 67. (posted 5/8) There are no accents in m. 33 and 34 (posted 8/5) Performance Guide: This etude is from George Frederic Handel's original work, Sonata in A major, HWV372: Mvt. IV. Allegro, for violin and continuo. Originally composed In the Baroque era, the piece should have a lighter feel and gentle forward motion. Transferring Baroque music to marimba presents challenges regarding the stylistic interpretation. For instance, there needs to be a steady tempo, but do not let the piece sound mechanical, avoid harsh phrase endings due to sudden accents, and create a smooth sustain on the rolls and trills. Violinists will generally perform this movement faster than my suggested tempo of dotted eighth equals 42-48. This range of tempi is fast enough to allow the music to dance but not so fast that the performer can't execute the quick thirty second note passages. One interpretative difference between the original version and this transcription is the doublestops; string players don't always play these two notes exactly together, but percussionists prefer them played simultaneously. I recommend playing all the eighth-note double-stops at the same time, but then trying out different ways of playing the rolled double-stops. Three options you can try include: one, start the rolls with a double-stop then play the left hand immediately to start the sustain, two, start the roll with the left hand without a double-stop, and three, start the roll with the right hand without a double-stop. Listen to several violin recordings to make an educated decision for the double-stop rolls. The trills that occur throughout the piece should be played as a roll and start on the diatonic note above the written pitch, which will coincide with common Baroque practice. More specifically, you will start the trill (roll) on the diatonic note above the written pitch, starting on the beat in which the trill is notated. In the case of mm. 57 and 64, the upper note will be played before the beat because ofthe notated grace note. Strive for a light agogic accent on beat one throughout the piece to maintain a constant lilt and dance-like character. Playing every note exactly the same takes away from the style of the piece-some notes are more important than others and this needs to be addressed. This transcription has a missing bar after m. 15, compared to Handel's original version. See the errata for the added bar between m. 15 and m. 16.
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Keyboard (4 Mallet) Tempo: Dotted quarter note 96-104 Play from Beginning to end. Errata: None Performance Guide: Webster defines Escapade as, "an exciting, foolish, or dangerous experience or adventure." Keep this piece constantly moving forward with the written dynamics and slight agogic accents on beat one, which allows the listener to feel the steady 6/8-meter. Throughout this solo, there are sections where one hand plays the accompaniment pattern and the other hand plays the melody. Work to provide a clear balance between the roles of the two hands to insure the melody is always heard clearly above the accompaniment, regardless of what the dynamic states. The dynamic refers more to the melody line than it does to the accompaniment voice. Three primary 4-mallet Fundamental stroke types are used in this etude: Single Alternating (Opening In Left Hand), Double Vertical (m. 3 in Right Hand), and slow Double Laterals (m. 42 in both hands). Further identify these stroke types throughout the piece, in both hands, to better acquaint yourself with the proper motions. Working on just the stroke types, away from the instrument, will train your muscles to play with correct technique and a good sound quality. One final note: accidentals apply only to the octave in which they are written (mm. 49, 56, and 57.)
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Percussion - Timpani Tempo: Dotted Quarter Note = 56-60 Play from Beginning to ms. 48. Errata: This etude can be performed on 3 or 4 drums; it is up to the performer. Tempos: mm. 1-6: dotted quarter note = 56-60; mm. 7-20: quarter note=92-96; mm. 21-48: quarter note-108-112 Play from m. 1 to a downbeat release (no roll) on beat one in m. 48 Note: Tempo markings clarification: The opening tempo of dotted quarter note = 56-60 applies to mm. 1-2. The accelerando then begins in m. 3 and ends on the downbeat of m. 7 where the next tempo begins, (posted 8/5) Performance Guide: Articulation is a challenge in this etude. To help cope with this challenge, select a hard to medium hard mallet, but don't choose something too hard that takes away from the sustained sound needed on the rolls. Along with mallet choice, use a quick low stroke to help articulate the softer, yet quick 16th-note passages. Muffling should be utilized to clear full measures of rest for the tuning changes. I also recommend muffling the rests in mm. 7-11, Regardless, a clear and even sound should be achieved in this section, especially when sticking choices are determined. Without violating dynamic indications, consider how to provide direction in each musical phrase. Work to achieve a full, resonant sound in mm. 7-19. The tendency is to play into the heads to hear the rhythm, but rather, the mallets should come off the head to allow the drums to sing. Pay attention to the meter changes and keep the 1/8-note constant at m. 28. The 1/4-note will become the dotted 1/4-note at m. 41. This section will feel like triplets compared to the prior section. Tuning is another key to success with this etude. Play the entire piece on a marimba, piano, or other keyboard instrument to hear the chord structure. Once the chords (Minor, Major, Chord Inversions) are clearly heard on a keyboard, it will be much easier to execute on the drums. Overall, ear training is one of the most important aspects about playing timpani and is highlighted throughout this etude. The glisses marked in m. 36 and 39 should still have clear arrival notes, as written. Pay attention to which drums you are tuning and set your feet early to anticipate the move.
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