All-State Band Audition Etudes

Flute and Piccolo Selection 1

Etude Title: Elegie-Etude, page(s) 14-15
Tempo: Quarter note 52–66

Play from: m. 1 to m. 25 end of measure (stop at double bar)

Performance Guide:
This Donjon etude "Élégie" should be approached with an emphasis on tone, tone color, dynamic contrast, and expressive shaping of the melodic line. Though labeled technical etude, an "Elegy" is poetic and lyrical, requiring a musical sensitivity throughout. The composer uses several French and Italian musical terms throughout; see definitions below.

Ultimately, the pulse will be felt in quarter notes (4 beats per measure). However, at the beginning of your practice, start slowly with the pulse in eighth notes (4 notes per eighth note to divide up the 32nd note runs). This will allow you to hear and practice your technique more evenly.

Eventually, shift your metronome pulse to the quarter note. Allow yourself some expressive flexibility and breath in the phrasing. Never sacrifice tone and style for a faster tempo.

This piece requires an even, vibrant tone across all registers. Although the opening dynamic is marked "pp", playing a comfortable "p" with a good sound is important. Create greater dynamic contrasts as you increase volume by using a fuller and darker tone. Maintain a steady and supported airstream throughout, regardless of dynamics or register shifts.

Most of the etude is slurred, but articulated notes (often accented) serve an important melodic outlining function. Use a legato-style articulation—rather than sharply tonguing the accented notes, apply a slight emphasis to give them shape without “punching” them. This maintains the lyrical character of the line.

Breathing must be intentional and musical. Take breaths where indicated, but also plan and practice additional breaths to support phrasing. For example:

m. 15: A quick breath may be taken after the A on beat 4, or on the barline between mm. 15–16.

mm. 22 and 24: These breaths should be musically set up, using expressive rubato around the breath to preserve the line.

Terms:
Allegro très modéré – fast, very moderate
Soutenues – supported
Long – lengthy
Lento – slow
Vivace – brisk, lively
Ten. – tenuto, held
Largement – in a slow, broad tempo
Vif – bright, lively
En diminuant – gradually decreasing

Flute and Piccolo Selection 1 Errata:
M. 5: the 14th note of the measure (32nd note) should be a G# (not a G natural)
M. 13: the dynamic marking "mf" should be placed one note later, after the breath mark
M. 18 and M. 20: add a sharp on note 8 of the measure (D#)
M. 19: D# should carry in all octaves, so a sharp should be applied to the 5th, 12th and 16th notes of the measure
M. 19: the dynamic marking "p" should be placed one note later, after the breath mark
M. 21: add a sharp on note 7 in the measure (C#).

Accidentals carry through the measure and throughout octaves:

PICCOLO - m. 11: play the 6th through 8th notes and the 21st through 23rd notes up an octave

Flute and Piccolo Selection 2

Etude Title: Op. 21 / 13, page(s) 46-47
Tempo: Quarter note 56–64

Play from: Beginning to downbeat of m. 33

Performance Guide:
This lyrical etude opens with an expressive calm mini-cadenza and offers opportunities for a singing tone and vibrato, elegant phrase shaping, and sensitive dynamic control.

Piano dynamics should be comfortable with a good tone. Create more dynamic contrasts by utilizing a dark tone as the dynamics increase and a lighter tone as the dynamic become softer, while maintaining the lyrical, singing quality of the tone throughout.

Rhythmic precision is crucial in this etude. Take time to practice the pulse shift between triplets and 16th rhythm, as well as paying attention to dotted rhythms vs triplets. Count aloud, sing, and say rhythms with a metronome.

Ornamentation & Notation Clarity
The turn in m. 3 (B♭–C♭–B♭–A♮–B♭) can be played as either:
A gracefully shaped quintuplet with a slightly tenuto first note, or
An eighth note + four 32nd notes, maintaining flow and style.
Grace notes should occur before the beat, but should feel natural and never rushed.

For improved intonation and interval awareness:
Sing and play intervals from the étude over a G♭ drone.

Plan breaths that fit musically within the rhythms. Take the breaths as marked, and add additional ones as needed. Some effective breathing points include rests or after a tie and break in the phrase mark.

Practice easy, full breaths that don’t interrupt phrasing—let the air support your vibrato and dynamic shaping.

Flute and Piccolo Selection 2 Errata:
After m. 12, take the second ending (m. 14).

Piccolo: Play the low D-flat in m. 14 one octave higher.
Piccolo: Play the low D-flat in m. 2 one octave higher.

Flute and Piccolo Selection 3

Etude Title: 7. G Major, page(s) 12
Tempo: Dotted Quarter Note = 60–68

Play from: Beginning to End

Performance Guide:
Karg-Elert Op. 107/9 should reflect a fast, brilliant tempo, with a crisp but light articulation, as suggested by the title "Rapido e brillante". The general pulse should be felt by the measure to shape the phrasing, however, it is suggested to practice with subdivisions indicated by the note groupings, which alternate between a triple and duple feel. Be sure not to let the tongue get in the way of a clear tone. Lots of daily articulation practice on scales is recommended before approaching this etude. You can single OR double tongue this etude. The dynamic for the entire etude is marked forte, however, there are dynamics you should add within the 4-bar phrases, emphasizing the shape. Avoid chopping the ends of the slurs short, and do not play the staccatos too short or choppy.

Clear articulation comes from good use of air behind the tongue, and a strong forward embouchure to direct the air. To prepare for clear articulation, practice without the tongue first in all registers slowly, utilizing the "gut puff" on syllable "whoo" or "huh". You can practice isolating just the articulated notes. Pay special attention to those areas where the articulation pattern changes early on in your practice. Harmonic and octave slur practices, both ascending and descending, will prepare you for the larger leaps that appear throughout this etude. Low register must also be prepared with good embouchure and daily tone practice. Make sure that your left hand first finger is up for middle Ds and D#s. The low C# in m. 37 can be prepared by moving the pinky into position on the A preceding the C#. Plan and practice your breaths according to how you want to phrase the etude, but generally it seems to work well in 4 or 8 measure groupings with some variances in the phrases.

While a brisk tempo is suggested, do not sacrifice style and cleanliness of tone/articulation for a faster tempo. Use the tenuto markings to ground your sound and tempo. Take your time in the last two measures with the ritardando, emphasizing clear interval leaps.

Flute and Piccolo Selection 3 Errata:
The measure numbers are labeled incorrectly starting from m. 30 (m. 30 should be m. 31)

Meas. 3 - The articulation markings for this measure should be - the first three notes slurred, the last three notes with staccato markings.

Piccolo: play C# and D in m. 37 8va, the C-natural in m. 38 8va, the C-natural in m. 46 8va, and the C# in m. 47 8va.

The last note should be a quarter note.

Oboe and English Horn Selection 1

Etude Title: No. 3, Allegretto, page(s) 5
Tempo: Quarter Note = 92–100

Play from: beginning to end

Performance Guide:
This selection is mostly a study in arpeggios. The arpeggios cover a wide variety of key centers. I think it helps to identify the key that is being defined by the melodic movement. The melody flows around and through the arpeggios. We start in F major but quickly move to some diminished, minor, and other major arpeggios. The melodic movement takes on a different shape at m. 31. The etude ends in scale patterns. Map out which F fingering to use in each pattern and use it every time for consistency. All accents need to be lyrical rather than percussive. Do not tongue hard. Lean into the accent. Use voicing to help with response and pitch. Think "sing high" and "sing low" according to the placement of the notes. Add dynamics that follow the landscape of the melodic movement. Play with fast, aggressive air all of the time. Press the air through the technical finger movement to keep the notes moving evenly. No matter what the question is, the answer is aggressive air. Breathe in places that are musically graceful. Remember even though this etude is a technical selection, it still music. Therefore, by definition, it must be lyrical.

Oboe and English Horn Selection 2

Etude Title: No. 12, Andantino, page(s) 21
Tempo: Eighth Note = 104–116

Play from: Beginning to End

Performance Guide:
This selection is very song like. The melodic movement is very beautiful and lilting characterized by a pleasant, gentle rising and falling but melancholy nature. This piece will be counted in 6. It is in b-flat minor. The first predictable accidentals are a-natural and g-natural which are the raised 7th and 6th notes in this key. The grace notes in measures 5, 11, 13, 15, and 39 should be placed before the beat. Map out the best F and Eb finger patterns for the most efficient movement. Notes with dots over them but under a slur such as m. 49 should be tongued. Notes with dashes over them such as m. 1 should be legato tongued. Notes with the housetop accents such as m. 4 have an intense lean. The trills in measures 57 and 58 need to be shaped. Lean on the front of the trill, start slowly and gradually increase the speed. Slow down on the grace notes at the end of the trill and let them lead into the next note. Do not take too many freedoms with the rhythmic pulse of the piece. Use very pressurized air throughout. Add singing vibrato to something in every measure. Pay attention to the marked articulation and dynamics. Count very carefully. Use this selection to make a beautiful and thoughtful musical statement.

Oboe and English Horn Selection 2 Errata:
The style markings in m. 1 should be the same throughout the piece when that melody appears. M. 2 should have a housetop accent on the A on count 4.

M. 44 - The fourth note and last note should be A naturals (this is incorrectly printed as an Ab in some editions)

Oboe and English Horn Selection 3

Etude Title: No. 7, Temp di Marcia, page(s) 12-13
Tempo: Quarter Note = 96–112

Play from: Beginning to End

Performance Guide:
This selection is based on a series of scales and arpeggios. The melodic movement flows from one scale or arpeggiated variation to another with seamless fluid motion. The trills that are on the sixteenth notes in the beginning and in measures 1, 8, and 9 need to be played as mordents. Place the mordent on the beat rather than before the beat. The trill in m. 4 is a traditional 1 count trill with termination grace notes into count 3. Map out which F finger pattern to use for the smoothest technique. Count carefully on long notes, ties, and rests. Play the articulation exactly as marked. Use vocal and embouchure voicing to facilitate the interval skipping. Think 'sing high" and "sing low" according to the placement of the notes. Add dynamics that follow the landscape of the melodic movement. Concentrate on keeping the air very aggressive and consistent. Press the air through the technical finger movement to keep the notes moving evenly and smoothly. No matter what the question is, the answer is aggressive air. Breathe in places that are musically graceful. Remember even though this etude is a technical selection, it still music and must make a musical statement.

Soprano Clarinets Selection 1

Etude Title: Allegro, page(s) 25
Tempo: Quarter note 84–100

Play from: Beginning to end

Performance Guide:
This etude should be prepared slowly, with the metronome, focusing on even sixteenth notes, especially across the break. Care should be taken to observe the mixed articulation and clearly define the slur two, tongue two, versus slur two passages. Fingering selection is important in m. 1. The last sixteenth note in m.1 should be on the left, followed by right hand B on the downbeat of m. 2. Use right hand F# in mm. 11 and 13 for economy of motion. Use left hand C before or after Eb, as well as one-and-one Bb for intervals, such as m. 19. Careful to tongue the beginning note of each slurred passage to illustrate the direction of the melodic line.

Soprano Clarinets Selection 2

Etude Title: Andantino, page(s) 32
Tempo: Eighth note 88–96

Play from: Beginning to end

Performance Guide:
This etude should be performed with the eighth note as the basic pulse, with a smooth legato and good musical direction to the melodic line. The trills in mm. 4, 11, and 41 should trill to the note in the key signature. m. 21 requires a slide of the right pinky from the sixteenth note Eb to C. The Db's in mm. 21, 23, 32, and 47 should be played with the right pinky Db fingered for a smoother legato interval and to maintain the technique in the same hand. Observe the dynamics carefully, especially the forte and pianissimo levels.

Soprano Clarinets Selection 2 Errata:
m. 46-Instead of Eb, the sixteenth note should read as a written E natural
m. 48-The next to the last sixteenth note should read as a Bb

Soprano Clarinets Selection 3

Etude Title: Allegro, page(s) 17
Tempo: Dotted quarter note 64–70

Play from: beginning to end

Performance Guide:
All tongued notes should be played staccato. Accented notes should be emphasized. Keep the eighth-note subdivision in mind to ensure accurate rhythms.

Low Clarinets Selection 1

Etude Title: 9 Caprices, 7, page(s) 90-91
Tempo: Quarter Note = 72–84

Play from: Beginning to 28

Performance Guide:
As indicated by the cuts, the eighth-note E on the downbeat in m.28 serves as the final note and should be treated as the clear conclusion to the étude. Performers should take care not to continue past the breath mark.

Choosing an appropriate tempo is critical to the success of this caprice. While the opening measures, filled with quarter notes, may initially feel slow or moderate in pace, this is deceptive. Measures 7 through 9 introduce rapid sixlet figures that require a fluid and controlled tempo. A recommended tempo of quarter note = 72–84 will ensure clarity in the faster passages while maintaining enough space for musical phrasing in the slower opening. A helpful strategy is to mentally hear or play through measures 7–9 first and then base the entire tempo on how comfortably and musically those measures flow. This ensures a cohesive performance from start to finish.

Rhythmic precision and attention to articulation are particularly important throughout the étude. The sixlet passages feature shifting articulation patterns, sometimes even within a single measure. These changes must be executed exactly as written to preserve the musical integrity of the line. Practicing slowly with a focus on evenness is essential, especially when working on sixteenth-note and sixlet groupings. "Swinging" the rhythms during early practice stages can be helpful to reinforce consistent subdivision and internal pulse before transitioning back to straight rhythms. Isolating articulation patterns and practicing them separately from finger movement can also be beneficial.

A practical technical consideration appears in measure 15, where the high D can be played using the overblown open G fingering. This alternative is often more efficient and reliable, especially in fast passages. For added ease in articulation, the player may choose to leave only the register key depressed when using this fingering. This approach reduces finger motion and supports a cleaner, more stable attack in the altissimo range.

Overall, the performer should demonstrate balance technical control with expressive phrasing. Careful preparation, slow and deliberate practice, and an awareness of the étude’s pacing and articulation demands will result in a confident, musical interpretation.

Low Clarinets Selection 1 Errata:
m. 1: The rhythm of the pickups into meas. 1 should read one sixteenth rest followed by five sixteenths (a sixteenth note-sixlet figure altogether). This should match the pickups into measure 18.
m. 8: articulation for all beats in this measure should be tongue one, slur two, slur two, tongue one. Look to the first two beats of measure 25 for an example.
m. 16: from low e, everything in this bar should be slurred. Tongue the high C in the following measure as indicated.
m. 19, 20, 21 & 23: play the articulation pattern under the big slurs.

Low Clarinets Selection 2

Etude Title: 32 Etudes, 25, page(s) 70
Tempo: Dotted half note 48–56

Play from: Beginning to the end of m. 49

Performance Guide:
This etude is rooted primarily in C minor, with two brief but expressive modulations to E♭ major occurring in measures 9–21 and again in measures 30–39. These tonal shifts provide a welcome contrast in mood and color, highlighting the importance of harmonic awareness in interpretation. Students will benefit from reviewing all three forms of the C minor scale—natural, harmonic, and melodic—as well as the E♭ major scale. Having these fingerings and sounds internalized will give them greater fluency and understanding of the material, and will make navigating accidentals and modulations feel much more intuitive.

The rhythmic character of the etude is distinctly compound, with each beat naturally subdividing into three. While the notation reflects this, it can be helpful during early practice stages to set the metronome to the quarter note pulse (♩ = 144–168) to clarify rhythmic placement and clean up coordination between fingers and tongue. Once the subdivision feels secure, students can return to the dotted quarter note pulse (♩. = 48–56), which better reflects the intended tempo and phrasing. This two-step tempo approach can help bridge the gap between rhythmic accuracy and expressive control.

Articulation in this etude plays a major role in shaping its musical character. When notes are slurred in pairs, they should be connected using a smooth, legato tongue—just enough to define the grouping without creating separation. The stringendo marked in measures 17–20 should build gradually and organically, increasing in energy and speed to a peak around quarter note = 56–68. From there, ease gently back into the original tempo in measure 22. This passage is especially valuable for teaching how to pace accelerandos musically rather than mechanically.

Technically, the etude presents numerous wide intervallic leaps that must be approached with care and finesse. These large jumps should feel seamless—achieved through consistent air support, relaxed embouchure, and a keen sense of internal voicing. Avoid over-adjusting the embouchure or fingers between registers; instead, rely on smooth air and voicing control to guide the intervals.

One of the most musically rewarding aspects of this etude is its dynamic shape. The edition outlines nearly every crescendo and diminuendo, giving students a clear framework for phrasing. But rather than treating dynamics as abrupt shifts between loud and soft, students should explore the full dynamic spectrum—aiming to shape each phrase with depth and intention. Seek the high point of each line, use dynamic contrast to support expression, and avoid "defaulting" to just forte or piano. When done thoughtfully, this etude becomes not just a technical exercise, but a compelling study in musical expression and control.
There are a lot of wider intervals that needs to be played as seamless as possible. This edition of the etude has outlined almost every crescendo and diminuendo throughout the etude with extreme contrasts in dynamics. Try to shape the phrase so that you do not play swell to just fortes and pianos and use dynamics in between and find the highest peak of the phrases.

Low Clarinets Selection 2 Errata:
m. 28: play the articulation under the big slur
m. 36-37: play the articulation under the big slur
m. 44: There should be one large slur in this measure to match meas. 1

Low Clarinets Selection 3

Etude Title: 40 Studies, No. 15, page(s) 16
Tempo: Quarter Note = 80–92

Play from: beginning to end

Performance Guide:
This etude is a true tour de force in left-hand dexterity. One of the most important aspects to keep in mind is hand position—maintain relaxed, curved fingers throughout the etude to ensure fluidity and comfort while playing. Proper hand positioning will not only enhance technical execution but also improve overall tone and agility.

The etude features a variety of articulation patterns, with the majority of the passagework being slurred. However, the few staccato and accented notes that appear should be given special attention. These moments of contrast are an opportunity to highlight musicality within a technique-driven etude. Make sure these accented notes stand out, adding character and emphasis in a way that complements the lyrical flow of the surrounding slurred passages.

Musicality is key, even in an etude that primarily focuses on technique. As the musical lines rise in pitch and intensity, let the sound grow naturally, allowing for an increase in dynamic range and color. Pay attention to the subito dynamic markings (such as those in measures 19 and 51), which should be executed with sharp contrasts, creating dramatic moments in the music. Similarly, there are extended passages without dynamic markings (such as measures 35–45), where there’s room for personal interpretation. In these sections, feel empowered to shape the phrases creatively, introducing dynamic variation and phrasing that maintains the flow of the music.

For the high D's in measure 55, consider using the overblown open G fingering for ease of technique. If needed, you can leave only the register key down to help articulate the correct partial for smoother execution. Likewise, for the high C-sharp in measure 61, you have two options: use the overblown F-sharp fingering (with the register key as necessary), or alternatively, you can finger it with the thumb, register key, and two side keys. Either option will provide ease and accuracy, depending on your comfort and technique.

Overall, this etude presents both a technical challenge and an expressive opportunity, requiring a balance between precise technique and musical sensitivity.

Low Clarinets Selection 3 Errata:
M. 1: the articulation pattern of measure 1 should match measure 2. Slur four, slur two, slur two.
M. 26: Bb should be B natural.

Bassoon Selection 1

Etude Title: No. 7, page(s) 14-15
Tempo: Dotted quarter note 84–108

Play from: Beginning to downbeat of m. 75. Add a fermata to the low F.

Performance Guide:
This etude is all about playing light arpeggios. Be sure out the 6/8 time signature by feeling this etude in 2 at all times, never in 6.
This piece has many tricky nuances. First, maintain this light style throughout all staccato passages. Do not add accents and try to get the notes as short as possible, making it sound peckish. Instead, let the ends of the staccatos maintain a bouncy and a presto feel.
The section at m. 33 allows a welcomed contrast in style. Bring out the voice-like lyric singing this section to show your musicianship. Whenever leaping to a high note, prepare by supporting with air into and through the lower notes. Be careful to release the high note rather than blowing through. If you push through and past the high note, it will likely out and have a bright quality that does not match the rest of your sound.
Lastly, if your bassoon has a thumb Ab, utilize this to make your low F to low Ab transitions easier, giving your right pinky a break.

Bassoon Selection 1 Errata:
Add a small crescendo while beginning a slight ritard in measure 74, and a fermata on the final note (low F downbeat of 75) in order to make this end sound more final. In MM. 13 and 14, continue slur from the sixteenth notes into the next eighth note (slur in to big beat 2), to mirror the articulation in MM. 15 and 16.

Bassoon Selection 2

Etude Title: No. 3, page(s) 6-7
Tempo: Eighth Note = 120–140

Play from: Beginning through m. 16, beat 2, then cut to M. 46 beat 3 and play to the end

Performance Guide:
The opening phrase of this etude is quite delicate and presents several initial challenges. First, Eb in the staff can be slightly unstable. Building confidence on this note, on any note, involves daily long tone practice with a tuner and/or a drone. You can also try adding the left-hand pinky resonance key for stability, and also try using either your right pointer finger OR your right middle finger to see which speaks most easily.
Second, as we are in the key of Ab major, there are several Ab’s in this opening phrase. Be aware of how open your left-hand half hole is, and if you hear a lot of cracking on those notes try adjusting your half hole opening. Also, if you have a thumb Ab, you may wish to utilize it in m. 10 to make the transition from your low Ab to your low F seamless, helping with the easy flow of the musical phrase.
Third, with so many long note values in this opening phrase, it can be tempting to start this etude too quickly or to rush through this first phrase. In order to set your tempo, think about the second line with the 16th notes. You must have good eighth note subdivision throughout this etude, even when you speed things up to feel more in three beats per measure rather than nine beats per measure.

There are two high Ab fingerings to consider in this etude. In the right hand, you can play a “short” Ab with just the ring finger down, or you can play a “long” Ab with the middle finger, ring finger, and Bb thumb key down. See which sounds better and more in tune on your instrument.

The 16th note passages throughout this etude should never feel rushed. They look fast, but they really should be treated quite expressively. Practice these lines completely in tempo, paying particular attention to the places where the musical line changes direction and focusing on consistent use of air, to ensure absolute control before adding any sort of rubato.

When phrasing up to the highest notes of this etude, like the Bb and C at the top of the range, it’s important to focus on the notes that come before the high note. Don't rush, get suddenly tighter with your embouchure, or suddenly change your air (keep quantity and support even). If you are utilizing new fingerings to help you get through this part of the etude, practice these fingerings first in scales to build muscle memory, then slowly incorporate them into the music.

In the last two measures of the etude, don’t get too soft too soon. It will make it difficult to have a long diminuendo on the last note if you start it too quietly and the pitch will suffer.

When you begin working on this etude at a slow tempo, be aware of how you are getting from note to note. Work on using a legato, connected, unbroken air stream and on ensuring that your fingers are moving in a smooth and unhurried way and you can overcome that feeling. If you find intervals that are coming out disconnected, isolate those intervals and work on smoothing them out (possibly incorporating slur fingerings) before putting them back in the longer phrase.

Bassoon Selection 3

Etude Title: No. 15, page(s) 28-29
Tempo: Quarter Note = 80–92

Play from: beginning through m 53 then jump to m 68 with no break to play 68 to the end of the etude

Performance Guide:
This etude is in b minor and f-sharp minor. This is important as there are many passages based on these scales throughout the etude.

One of the challenges in this etude is the articulation patterns. Practicing these scales with their corresponding articulation patterns will help technical and articulation difficulties. The b minor scale (slur the first and second 16th together, then the third and fourth 16th together) and f# minor (slur second and third 16ths together, then fourth and first 16th of next beat together) can be confusing, so practice this slowly to get the unique patterns down. In both, it is important not to clip the second note under the slur to keep your air support strong.

The rooftop accents in the first two measures should not be seen as harsh accents, but more of an emphasis on the first note of each pair of sixteenth notes. Although these are absent after the first two measures, this pattern should continue through m 16. When this material returns in m 68, again this emphasis should be played through m 78.

One of the more difficult passages is m 80 through m 90 as the syncopation can lead to destabilizing the pulse and rhythm. When practicing this section, remove the ties and replace all eighth notes with articulated sixteenth notes. Once this feels comfortable, play as written but continue to subdivide the sixteenth notes internally.

Ending on a high B can be tricky, so make sure to have good support from your lower abdomen and don't over-blow. Keep your embouchure round and supportive, and do not blow past a comfortable forte dynamic level for YOU to keep the pitch and sound quality controlled.

Bassoon Selection 3 Errata:
M. 23 - last note should be a G#.

Contra Bassoon Selection 1

Etude Title: No. 94, page(s) 23
Tempo: Dotted Quarter Note = 44–50

Play from: Beginning to End

Performance Guide:
This piece is in the key of C major with an energetic 6/8 time signature. The style should be light and slightly lifted, which can be a challenge on the contrabassoon. As always, the answer is air. The air we blow into the instrument should maintain a constant energy and flow, even when playing lifted, and even when getting to a point of repose where a breath might be.

There is only one dynamic given at the beginning of the piece. That means we are given the opportunity to add dynamics, and we should take that opportunity to create a more musical performance. After the initial statement of the main theme, the composer has written several sequences, which combine continuity with musical contrast (a descending thirds sequence in mm. 7-10, an ascending seconds sequence in mm. 11-16, and a descending thirds sequence in mm. 20-23). Sequences are great places for us to highlight growth (getting louder, adding to intensity) or decay (getting softer, decreasing intensity). You as the performer get to decide exactly how each of those sequences should be played – with an increase or a decrease in volume/intensity.

This piece lays under the fingers pretty naturally on the contrabassoon. Make sure your E octaves are in tune from measure 6 to measure 7. It’s easy to be flat on the upper E, so be sure to adjust your air, embouchure, and voicing more so than you may have to do on the bassoon. Consider which d-sharp fingering works best in measure 7 and measure 20. Here are two suggested fingerings for the upper d-sharp. You should figure out which version works best for you on your setup:






Carefully count the notes that have ties over the barline in measures 11-12 and 14-15. The note that comes after the tie comes on the second eighth note of the measure. Feel this meter in two and continue to lead to strong beats in measures.

Contra Bassoon Selection 2

Etude Title: No. 77, page(s) 15
Tempo: Quarter Note = 46–52

Play from: Beginning to End

Performance Guide:
Every decision you make about how to perform any piece of music goes back to three main questions the musician should ask: 1. What is the job of the performer of this piece? 2. What are the specific goals for learning and performing this piece of music? 3. What steps can I take to work towards those goals? These questions go beyond the concept of if, how much, and how to practice; rather they speak to the interpretation of the music – the answers guide you to figure out how and why you would make certain practical decisions. And those practical decisions should always be in service of the needs of the music itself.

What is the job of the performer of this piece? To play smoothly, clearly, in tune, with a centered sound, and with beautiful musical phrasing.

What are the specific goals for learning and performing this piece of music? Anyone can play the notes on this page. But it takes careful examination of the music to understand it and perform it at a high level. First I recommend figuring out how you might want to do the phrasing. The other details will fall into place after that. The simple musical melody appears several times at the foreground, middleground, and background of the musical structure in various ways, both plain and ornate. Understanding the essential musical melody will help you lead the musical line, add phrasing, and play this piece beautifully. This melody is at its essence the descending 6 notes of the d melodic minor scale. The B-flat on the downbeat of measure 1 is prolonged to the A on the downbeat of measure 2 is prolonged to the G on the downbeat of measure 3 is prolonged to the F on the downbeat of measure 4 which descends through the E and D that come right away after that. That scaler melody is simple and elegant. Play that melody on its own slowly and with musical phrasing. Then play it exactly the same way, just with all the other notes in between. We find the exact same essential melody in measures 17 through 20 (but an octave higher) and the exact same melody in measures 21 through 24 (but an octave lower).

Selecting fingerings that work best for your setup becomes critical in this piece. The best way to select fingerings is by using this criteria in this order: tuning, tone, technique. Sometimes it is possible to satisfy all 3 of these needs, but sometimes you have you make a choice based on just one. The longer the note sounds, the greater the need is to select a fingering that can be played in tune and with a good sound. The faster the passage, the greater the need is to select a fingering that can be played quickly and cleanly. There is truly a creative art to contrabassoon fingerings, perhaps more so than on other woodwind instruments. The fingerings that work on one contrabassoon may not work as well on another contrabassoon. Many contrabassoonists have developed a practice of being able to have access to several different options at their fingertips, so to speak. Look at multiple sources for contrabassoon fingerings and if one version of the fingering is not working for you, find an alternative. There are many sources for contrabassoon fingerings. Here are just a few:

The International Double Reed Society has an excellent collection of fingerings:
https://www.idrs.org/resources/fingerings/search/?s=&hFR%5Btaxonomies_hierarchical.idrs_fingering_instrument.lvl0%5D%5B0%5D=Contrabassoon&is_v=1

Richard Bobo has a very well respected fingering chart that is available here:
https://me.subcontrabassoon.com/Bobo_Contranomicon_2.pdf

Fox Products has recently revised their contrabassoon fingering chart:
https://foxproducts.com/wp-content/uploads/2024/08/Fox-Products-Contrabassoon-Fingering-Chart.pdf

In performing this piece, make sure:
- Notes and rhythms are correct.
- Fingerings are in tune, centered, and achievable in context.
- Mark your breaths in, and take them every single time you practice.

But remember: Even when you have done all of the above, the notes you see on the page are meaningless until you, the musician, breathe life into them.

Contra Bassoon Selection 3

Etude Title: No. 89, page(s) 21
Tempo: Eighth Note = 108–120

Play from: Beginning to End

Performance Guide:
This piece is in the key of G major with a 3/8 time signature. Although I’m giving the suggested tempos in terms of the eighth note, you should feel this piece in one, or better yet, in meta-measures grouped in twos. Be sure that all dotted notes, all tied notes, and all notes involved in syncopations receive their exact, correct timing by subdividing the sixteenth notes when practicing this piece. Watch out for rests at the beginnings of measures as it is tempting to gloss over them (for example in measures 11, 17, 19, and 21). There is only one dynamic given at the beginning of the piece. That means we are given the opportunity to add dynamics, and we should take that opportunity to create a more musical performance.

The slurred parts of phrases can be especially challenging to execute cleanly on the contrabassoon since they span multiple ranges quickly. There are several aspects of technique to be in control of to make these passages smooth and clear. First is of course air. The air we blow into the instrument should maintain a constant energy, flow, power, and intensity. Do not shy away from notes that have trouble speaking; extend the energy of your air through those notes to help them come out. Second, be sure you spend time on every note and in every range of the contrabassoon developing an understanding of what you need to do to get that note to sound good and to play steadily and in tune. The contrabassoon is not the bassoon. It’s bassoon-like, but the fingerings can be quite different, and the air/embouchure/voicing combinations change in different places than on the bassoon. For example, the first note of this piece, top space G in the staff is produced with no left thumb key (the first rule of contrabassoon club is there’s no whisper key), there are no open tone holes, and thus no half-holing on contrabassoon, so we leave the first finger on the left hand off, and the voicing change from the range of notes right below that is a greater difference (even higher) than the comparable shift on the bassoon. If you play this G with the same kind of voicing (and air and embouchure) that you do the same written G on the bassoon, this note is likely not to speak consistently. Once you know what you need to do on your setup to get this note to speak, practice starting the piece on this G repeatedly to get the muscle memory set for yourself.

Selecting fingerings that work best for your setup becomes critical in this piece. The best way to select fingerings is by using these criteria in this order: tuning, tone, technique. Sometimes it is possible to satisfy all 3 of these needs, but sometimes you have you make a choice based on just one. The longer the note sounds, the greater the need is to select a fingering that can be played in tune and with a good sound. The faster the passage, the greater the need is to select a fingering that can be played quickly and cleanly. The D in measure 14 is a relatively longer note, so it is important to use a fingering that sounds clear, centered, and in tune. If your setup will do that with a short/standard high D fingering, that’s fine, but you may want to use a longer fingering like this one:


Because we need to breathe more frequently on the contrabassoon than on the bassoon, I suggest carefully considering where to mark breathes. While you may not need a breath after measure 2, it may be helpful to breathe there to avoid having to take a breath in a less than optimal place. For example, while it would be possible to phrase it in such a way to make it work taking a breath between measure 4 and measure 5, the last three sixteenth notes of measure 4 seem to lead into the downbeat of measure 5 (and likewise the last three notes of measure 7 lead into measure 8). So the next logical place in the phrase for a breath is at the end of measure 8. That would mean you may want to try to make it all the way from the beginning of the piece to the end of measure 8 before breathing again. But it would be hard to maintain the tone for such a long span of time on the contrabassoon. By taking a breath at the end of measure 2, it could be possible to make it to the end of measure 8 before needing the next breath. You should map out your breaths and practice them just as you would with any other aspect of your musical plan. All of this is in service of the best possible musical performance of the piece.

Saxophones Selection 1

Etude Title: No. 36, page(s) 18
Tempo: Dotted quarter note 76–84

Play from: Beginning to end

Performance Guide:
You can better prepare your technique for this etude by practicing F minor scales and arpeggios as well as diminished 7th arpeggios. Pay close attention to the key signature and the accidentals in each measure. The etude should stay smooth and flowing throughout. Take care to avoid clipping the last note of the arpeggiated slurred passages. Always practice with a metronome. Because the majority of this etude is slurred, it will be easy to rush. Begin learning this etude slowly, and use a variety of practice rhythms to help even out the technique.

The E-flat grace notes found in the first and second measure can be played using just the 3rd left hand palm key (the high F palm key), though some tenor and baritone saxophonists might find the top right side key (the high E key) produces more accurate intonation on their specific instruments.

Saxophones Selection 1 Errata:
-Meas. 4 - The fourth note of the measure should be an F natural. (this is incorrectly printed as an E natural in newer editions)

Saxophones Selection 2

Etude Title: No. 27, page(s) 14
Tempo: Eighth note 70–84

Play from: Beginning to end

Performance Guide:
“Lagrimoso” refers to a sad or mournful style. With that in mind, no rhythms should "feel" fast -- even the 32nd notes in measure 7. Use a supportive air stream to connect the notes together, and it is appropriate to aim for a sense of lingering or holding back against the metronome at times. The ornaments (trills, turns, and grace notes) should all stay in this "character".

This etude has a wide range of dynamics and expressive phrases. Strive to perform this etude with a beautiful sound and controlled response as you move into different registers and from soft to loud. Use an even, round vibrato, and always take care that it is within the sound as you change dynamics. There are many angular leaps in the second half of this etude, and they can be an exciting element used to build momentum and intensity within the phrases.

Saxophones Selection 2 Errata:
Meas. 39 — there should not be a staccato mark over the B natural on beat two.

Saxophones Selection 3

Etude Title: No. 22, page(s) 11
Tempo: Quarter Note = 112–126

Play from: Beginning to end

Performance Guide:
This is a fun and energetic etude with lots of room to be musical and expressive. Make sure to follow the dynamic contour and use vibrato on quarter notes (and quarter notes tied to a 16th note) to create a lyrical flow and playfulness. Please take care that the length of the tied notes in mm. 2-4 is accurate. There is a tendency to either compress or elongate these notes. Avoid unintentionally accenting the tied 16th notes with air when trying to count correctly.

Pay attention to the wide variety of articulation patterns in this etude. The end of slurs followed by staccatos needs to be released with a light lift except when the staccato is on a beat (mm. 6, 7, 9, 10, 11, and 12). The moving bass line in mm. 9-12 needs be brought out by adding a slight accent while playing the following three 16th notes quieter.

Start practicing slowly with a quarter note pulse on the metronome and gradually speed up. Once the performance tempo is reached, switch to a half note pulse. This will help the etude sound smoother and more elegant.

Cornet/Trumpet Selection 1

Etude Title: No. 11, page(s) 12
Tempo: Quarter Note = 80–92

Play from: Beginning to End

Performance Guide:
This etude is based on the fanfare from Beethoven’s Leonore Overture No. 3, and you will hear that iconic call in the final line. Marked sempre marcato—meaning always accented and slightly separated—you should aim for consistent and clear articulation throughout. Notice that the accents at the beginning of each of the first seven measures are not as frequent starting in measure nine.

In measure 17, there is a one-measure break from the fanfare figures, and it is marked espressivo. This is your chance to shift away from the marcato style and show more lyrical playing.

The only rallentando occurs in the second-to-last measure. While you may feel tempted to slow down prior to that, in measure 29, you should avoid doing so and maintain a steady tempo.

For practice, focus on articulating harmonics and arpeggios, slurring, and double-tonguing exercises. You may also find it helpful to temporarily leave out the 32nd notes as you learn the etude, allowing you to focus on clarity and accuracy in articulation and slotting.

Cornet/Trumpet Selection 2

Etude Title: No. 25, page(s) 24-25
Tempo: Eighth Note = 120–144

Play from: Measure 35 to End

Performance Guide:
This excerpt from Brandt Etude No. 25, starting at measure 35, should reflect two distinct tempos. The original etude begins with a brisk Allegretto, but this section is marked meno mosso, meaning “less motion” or slower. Then, at measure 52, the original tempo returns—aim for a dotted quarter note tempo between 88 and 100 beats per minute.

A key feature in the first section is the use of mordents, which involve quick alternation between the written note and the note directly above it, staying within the key signature. It’s a good idea to practice this section first without the mordents. This allows you to focus on developing a smooth, lyrical (cantabile) style and maintaining the even flow of the 16th notes. When you do add the mordents back in, make sure they enhance the musical line without disrupting the pace or clarity of the rhythm.

The first half of the etude, in C Major, should feel smooth and expressive. The second half shifts to a livelier, dance-like style in 6/8 and modulates to G Major—be sure to watch for the key change and adjust accordingly.

Cornet/Trumpet Selection 2 Errata:
m35 - last note, E, should tie to m36 first note, E
m39 - the A should slur to the 8th note G, and the 8th note G should tie to the dotted quarter G
m41 - the A should slur to the G
m47 - the A should slur to the G

Cornet/Trumpet Selection 3

Etude Title: No. 16, page(s) 17
Tempo: Dotted Quarter Note = 68–82

Play from: Beginning to End

Performance Guide:
Take note of the direction to “play in a bright, scherzando manner.” This etude should sound playful and light—not overly articulated, but still clean and precise. Even though it’s marked staccato, aim for a slightly longer articulation on the 16th notes. The tempo will naturally create the separation you need, so there's no need to make them too short or choppy.

Watch out for the double flats in measure 16—they can easily trip you up if you're not careful! Although the piece is in 3/8 time, measure 39 has a rhythmic feel that shifts toward a duple pulse. You can lean into that change slightly, but be cautious not to accent the first and fourth 16th notes in that section.

For practice, try playing the opening rhythm on a single note, like concert B-flat. Focus on using a light tongue to lead smoothly through the 16th notes toward each downbeat, avoiding any rushed or "crunched" rhythms. It also helps to isolate and practice quick cross-finger passages—like F to F♯ or first-line E to E♭—to strengthen your fingers and improve fluidity throughout the etude.

This etude is based on Rimsky-Korsakov's Scheherazade, and becoming familiar with the piece will greatly aid in your preparation.

Cornet/Trumpet Selection 3 Errata:
m. 8 - beat 3 the Ab should be an A natural.
m. 43 - The second note should be an A natural (as in m. 44)
m. 45 - both B flats should be B naturals, just as in m. 46.

F Horn Selection 1

Etude Title: No. 30, page(s) 38
Tempo: Quarter note 92–104

Play from: Beginning to end

Performance Guide:
I personally think that 100 to the quarter note works the best. This is a technical etude that requires flexibility and tongue/finger dexterity. This should be performed with an aggressive approach with a very virtuosi flare. The staccatos should be performed very short and very light, be sure that you are playing with a good tone, and don’t let it become all tongue. Pay very close attention to the slurs and the dynamic markings, they do change here and there and sometimes very abruptly. Deciding where to breathe is an extreme challenge in the etude. I would suggest to breathe where it make the most sense, after 8ths before 16th’s and after quarter notes that don’t allow you to break the phrase too much. I would also recommend that you practice this etude in a fast 4, or 8th note gets the beat, until you get used to how the 16ths should feel. That means that your metronome will be set at 8th = 200 or so.

F Horn Selection 1 Errata:
The Forte marking in measure 14 should be on beat 2 of measure 13. The trills in measures 59 and 63 should have a sharp sign above the trill symbol and be whole-step trills to a written C#.

F Horn Selection 2

Etude Title: Andante grazioso, page(s) 50 (top)
Tempo: Eighth Note = 92–108

Play from: Beginning to end

Performance Guide:
This etude utilizes a smooth lyrical style with accurate rhythm in the thirty-second notes. All grace notes should be placed before the beat: m7, 9, 11, 13, 15, 20 and 23. The staccato m. 22 should be light and resonant not dry, slurred staccato should be a doo vowel m. 9, 11, 13, 16 18, and 21. The accents in m. 19 should be a slight decay of a louder dynamic to softer, not harsh. M. 23 is a cadenza like section please make all fermatas proportional to the length of note value, B-flat and C trills are whole step and can be lip trills, the D- E-flat trill must be a valve trill. M 24 should begin in tempo and end with a slight ritard. into m. 25. This will help bring out the musical side of the piece and give more room for taking breaths when you have an eighth rest. This particular etude will give you the chance to show your musical side. Phrasing is very important, as well as incorporating your breath marks. You should play with a shape to the phrase that represents a crescendo and decrescendo even when they are not marked. I would also recommend taking time at the end of phrases where appropriate. The use of rubato is important throughout, especially when the cadenza occurs. The trill in bar 20 moves between a “g” and an “a flat”. There is no good fingering for this, however thumb 1 to thumb 2 may be the best. You can achieve a lip trill if you finger both notes 1&3; on the “F” side and playing the upper note lower than normal.

F Horn Selection 2 Errata:
Play mm. 10 and 14 with the same articulation as found in m.12.

F Horn Selection 3

Etude Title: No. 48, page(s) 63
Tempo: Dotted Quarter Note = 106–120

Play from: Beginning to end

Performance Guide:
This etude is a very playful and difficult for stamina. Work on keeping clarity and style as you increase your tempo. Don’t allow this etude to sound frantic, keep your tempo at a place in which you can execute the entire etude at the highest level. Keep the articulation light with sudden bursts of dynamic contrast at the SF points, including the heavy air accents. One’s air needs to be fast and always moving forward. Make sure the grace notes are not too fast, slow them down enough so that they sound “easy” and not like you’re missing a note. Strive for obvious dynamic contrast, make sure there is a difference between your pp’s and your ff’s.

F Horn Selection 3 Errata:
Play top note in mm. 2, 18, 62, and 82.

Tenor Trombone Selection 1

Etude Title: No. 79, page(s) 58-59
Tempo: Quarter Note = 76–90

Play from: Beginning to End

Performance Guide:
This etude marked “moderato,” should be performed at a tempo which showcases the vibrant energy of the sixteenth notes but is also clean and clear in quality. As you learn this etude, be picky with the various articulations. The default articulation style should be full length notes with a clear front. Pay special attention to any accents and especially the marcato accent, which implies the length of the note is slightly shortened and the front of the note is louder. In addition, there are many two-note slurs, such as the first two notes of the etude, Ab-G. When encountering this, the trombonist should add a brief lift to the second note of the slur, to enhance the lightness of the character.

The performer should also take note of the many dynamic markings, ranging from piano (p) to fortissimo (ff). The most compelling performer will make the greatest amount of contrast in dynamics. At m.15, there is a “tempo I” marking, indicating a return to the original starting tempo of the piece, and a possible ritardando before m.15. The performer is encouraged to remain close to the original tempo but allow room for a natural relaxation in the sense of line.

The challenges of this etude include extended technical passages that require quick slide technique, rapid articulation, descending arpeggios, and long phrases with few rests for breathing. When practicing and performing, take note of the patterns of the music, rather than memorizing individual notes. Differentiate scalar passages from arpeggios, and the many sequences of repeated musical ideas, shifted up or down one note. Also take note of the key change at m. 15 to G major. Sing the etude with a metronome before performing and just practice the slide movement that will be required. Plan out breaths that make sure with the musical line and are quick enough to note lose any time. Certainly, start learning at a slow tempo to facilitate accuracy and good intonation, and strive to get the tempo up to the written tempo in a timely manner.

Tenor Trombone Selection 2

Etude Title: No. 44, page(s) 25
Tempo: Quarter Note = 70–78

Play from: Beginning to End

Performance Guide:
Marked “dolce e sostenuto,” this etude in D-minor gives the performer the opportunity to display the highest caliber of musicianship and legato technique. There are several tempo changes which allow for maximum expression and give and take of time, such as “agitato” (agitated), “con moto” (with motion) and “molto allargando” (broader). In the con moto sections, it is important to keep the sense of musical line moving forward and create the longest phrases possible.

When learning the etude, prioritize seamless note connections through a steady air stream and quick legato articulation. Utilize natural slurs whenever possible to assist with note connections, such as the first two notes of mm. 13-15. When encountering a dotted eight-sixteenth rhythm, such as the first two notes, be sure to not leave any space before the sixteenth note. Also, the performer should play with dramatic dynamics, making a clear difference between the loudest and softest dynamic. Always play with your best sound through the dynamic changes be mindful of how the intonation may change.

The greatest challenge this this etude is establishing and maintaining beautiful legato technique. The trombonist is encouraged to listen to recordings of professional performers often to develop a clear sound concept of tone and musicality. The development of legato technique can be addressed through working on simple melodies by ear and practicing lyrical etudes such as Cimera and Rochut. Lastly, vibrato use is encouraged to make this etude sound like it is performed with a singing quality. Experiment with the width of the vibrato and how often it is used to create the most compelling musical performance.

Tenor Trombone Selection 3

Etude Title: No. 60, page(s) 40-41
Tempo: Quarter note 96–108

Play from: Beginning to End

Performance Guide:
Marked as “giocoso” (playful), this etude showcases the ability to play in contrasting styles: a faster energetic style, and a slower sustained style. Any section that is marked “allegro,” should be performed with slightly lifted notes and clear articulation at the written tempo. Any “meno mosso” or “meno” marking should be performed at a slower tempo and in a cantabile manner, with sustained note lengths and the use of legato tongue. To understand the style differences, the performer should sing through the etude as much as possible before playing. Take special note of all the articulation markings, and especially all the slurs.

There are two types of slurs in this etude: natural slurs and legato slurs. Natural slurs, such as the first two notes (D-A), cross a partial and do not need to be articulated to make a clean note change. Legato slurs, such as A-G in the 4th measure, cannot be naturally slurred and the performer needs to articulate the slurred note in the legato manner to make it sound like a natural slur. The performer should work on the various types of slurs in their fundamental practice to ensure that they sound identical. It is also encouraged to use alternate positions where feasible assist in fluidity of line.

Another challenging aspect of this etude is the range, from low D to high B natural. The trombonists should practice range daily, with scales and arpeggios, to develop that skill beyond this etude. To develop good intonation, players are encouraged to play a drone in the key center and practice the related scale to develop consistent intonation on each note. For the faster passages, the performer should isolate the sixteenth notes and play them very slow to ensure correct intonation and accuracy of slide precision. Lastly, always be mindful that you are making your best tone on the instrument and taking breaths that allow you to stay relaxed and keep your sound beautiful throughout the elude.

Tenor Trombone Selection 3 Errata:
m. 47 - the 3rd note should be a C-natural, not a C-sharp;
m. 48 - add a slur from the 4th note to the 5th note.

Bass Trombone Selection 1

Etude Title: No. 56, page(s) 23
Tempo: Quarter Note = 92–108

Play from: Beginning to End

Performance Guide:
This etude provides challenges to performers in the areas of articulation, style and musicality. While marked forte, this etude should be played in a light, bouncy style with a full, majestic tone and clear fronts to the notes. Strive to play two-bar phrases rather than breathing after every long note. Make sure to show a clear distinction in tempo between the opening tempo and the con moto section. Make sure to show the accents, but think of them as having weight, rather than just having a harder front to the note.

To prepare this etude, use a metronome and start slowly. Gradually increase the speed over time as the etude becomes more comfortable. Combine that with daily tonguing exercises in the mid range, single trigger, and double trigger ranges. It is highly recommended to practice the B Major scale focusing on tuning and consistent articulation. Take advantage of 6th position for the e sharps throughout.

Bass Trombone Selection 2

Etude Title: No. 51, page(s) 16
Tempo: Quarter Note = 72–78

Play from: beginning to end

Performance Guide:
This lyric etude is an excellent vehicle for players to demonstrate their ability to play extremely connected slurs while maintaining a consistent tone quality as they move between registers. There are few dynamics provided allowing the performer to be creative in their interpretation. In addition to showing hills and valleys in the dynamics, students should feel free to play with rubato, moving the tempo forward as it gets more exciting and then pulling it back when it relaxes. An example of this is pickup to measure 9, which builds to measure 12, then relaxes to measure 16. Make sure to pay attention to the tempo markings, with a clear distinction in the con moto section, a subtle rit. in measure 46, and consistent speeds in the Tempo I passages.

To prepare this etude, students should think carefully about the position choices they use. There are many opportunities to utilize the second trigger (Pi Valve) on its own to ensure smooth, connected slurs. (Measures 1 and 2 are great examples). Other passages provide opportunities to utilize sixth position for optimal connection. (Measures 9 and 10 are great examples). The low D naturals in the etude all lead to Ebs and would be best played with just the F attachment.

Spending time playing the Bb minor scale and slurred arpeggios into the trigger and pedal range will be very helpful for this etude.

Bass Trombone Selection 3

Etude Title: No. 61, page(s) 31
Tempo: Dotted Quarter Note = 60–68

Play from: beginning to end

Performance Guide:
This etude provides students the opportunity to show expressive musicality while playing technically challenging music. Make sure to show the contrast between the slurred lyric passages and the bouncy technical sections. While there are very few dynamics indicated, students should show musical line with hills and valleys throughout. A good starting point would be to crescendo through ascending lines and diminuendo through descending lines. The con moto sections should be noticeably faster and performed on the front side of the beat. Staccato sixteenth-notes should be light and bouncy with clear fronts. Make sure to blow steady air through those passages. Students should be sure to show the meter, with a bit of weight on beats 1 and 4. Accented notes should have more weight and fullness rather than just a harder start. Make sure to hold long notes the full value.

To prepare this etude, I would suggest breaking it down into 2-bar sections. Practice glissing the music, focusing on steady air and steady sound to work on consistent tone quality. Students can then practice the same 2-bar section tonguing the music all on one note-an F, low Bb, or the first note of the section are all good choices. This will help get the slurred passages to be connected yet clear, and get the bouncy style of the technical passages to be clear and consistent. Pay careful attention to the rhythms, particularly the subdivisions in dotted eighth- sixteenth passages.

Bass Trombone Selection 3 Errata:
m. 6: Missing slur between Bb and Eb. (revised 8/2/17)
m. 24: Last note of the measure should be an A Flat. (Revised 8/14/2025)

Euphonium Selection 1

Etude Title: B Minor - Moderato, page(s) 36
Tempo: Quarter Note = 104–120

Play from: beginning to end

Performance Guide:
To be performed at a moderate tempo, the style and accuracy of rhythm throughout the etude are extremely important. Work to create a clear difference between the light style of staccato notes and a weighted presence of accents from the very beginning of the learning process. You will notice a few awkward passages with accidentals between m. 9-15 – I would suggest spending a lot of your time practicing these passages slowly and using various practice techniques to ensure even fingers, interval accuracy, and clarity. There are many specific dynamics written in to use for distinct musical ideas and phrase shaping. "Con espress." indicates the middle section to be played "with feeling; expressively". Use this brief contrasting section to play with more lyricism, vibrato, and expression. The next smaller section of the etude introduces syncopation, new rhythms, and a shifting key center. It is important to bring out the syncopated motives but with special attention to where the agogic stress and emphasis occurs. Lastly, a final statement of the beginning melody appears, this time with a slightly altered articulation pattern on the 16th note passages and an upward arpeggiated B minor triad leading to a calm close of the piece.

Euphonium Selection 1 Errata:
M. 11 - The second note of the measure should be a B-natural (not a B-sharp)

--Treble Clef Book--
M. 11 - The second note of the measure should be a C-sharp (not a C-double sharp)

Euphonium Selection 2

Etude Title: F Major - Larghetto cantabile, page(s) 10(BC) 12(TC)
Tempo: Eighth Note = 72–88

Play from: Beginning to end

Performance Guide:
The F Major etude is a selection that gives the performer an opportunity to play with a cantabile (song like) style of playing, using tasteful vibrato, purposeful phrasing, and musical direction. Do not be afraid to use rubato where appropriate for musical affect and for breathing purposes.

In this meter of 3/8, at this slower tempo, 16th notes should be counted "1&", while 32nd notes counted "1e&a" (or equivalent subdivision using your preferred counting system). Rhythmic accuracy will be pertinent to successfully playing this etude, specifically when playing tied rhythms, syncopated motifs, and duple vs. triple notation.

As this etude explores a wide range of the instrument, strive to make all notes and phrases have the same tonal color and evenness in the sound, especially during the peak of the piece (m. 66-67). The accented 8th notes should be considered weighted with a slight taper to each note. To successfully achieve this style, one must think of these notes using more support and definition of their air rather than tongue to create the desired articulation. All phrases, regardless of dynamic markings, should have shape and contour. Dynamics should be obvious but never interfere with your most vibrant sound and the musical intent of the line. All ornamentations should be played lightly and gracefully before the beat in order to preserve the cantabile character of the music. Always be mindful of how you are releasing a note before a breath, as you never want to detract from the overall musical line. Think Chorale style breathing and breathe musically vs playing perfectly in time at ends of phrases. Remember to make music!

Euphonium Selection 2 Errata:
Bass Clef:
m. 73 add decrescendo on beat 3

Treble Clef:
m. 2 delete crescendo
m. 23 add crescendo through the measure
m. 24 should be played: 1/16th note,1/16th note, 1/4 note
m. 31 should be played: three note slur, followed by a six note slur
m. 32 should also start with a three note slur
m. 36 first note is dotted 1/16th note
m. 56 delete crescendo
m. 64 add crescendo

Euphonium Selection 3

Etude Title: G Minor - Moderato, page(s) 5
Tempo: Dotted Quarter Note = 80–96

Play from: Beginning to End

Performance Guide:
The opening of this étude is marked moderato and pesante. The dotted eighth notes should have more weight than the other notes in the bar. each note should have a firm articulation, and none of the notes should be played too short. The style of the dotted rhythms will be crucial for success in this etude. Be very exacting with the 16th note figures making the marked staccato notes very clean and clear. Play with appropriate slur 2 tongue 2 style.

Pay careful attention to the change of rhythm in measure 9, 10 46 and 47. Be careful not to play the staccato 8th notes too short, but clearly separated and softly in measure 13 and in similar sections throughout the etude. In measure 23 there is a change of style from the bouncy beginning style to a more lyrical melody which stays more lyrical until measure 31 where it returns to the beginning style. In this middle section when the notes have a line over them (Tenuto) play them full value but still tongue them. Think Strength and Length for the tenuto markings. The notes marked with the heavier marcato accent marks should have a stronger articulation and more weight.

Tuba Selection 1

Etude Title: No. 33, page(s) 26
Tempo: Quarter Note = 89–109

Play from: Beginning to End, no repeats.

Performance Guide:
This etude challenges precision of articulation and air control. Although the etude is predominantly sixteenth notes, the grouping of the notes for articulation is varied: slur two tongue two (m. 1), slur three tongue one (m. 3) slur two slur two (second beat of m. 5), tongue one slur two tongue one (third beat of m. 5), tongue one slur three (m. 36), and tongue four (last beat of m. 19). The most common error in the execution of this etude is improper articulation. Practice slowly with attention to the note grouping. Staccato notes should be clearly articulated, but at the indicated tempos no attempt should be made to play the notes short. Avoid a hard or percussive tongue; maintain smooth airflow and minimal tongue movement. Most will need a breath in mm. 5-12, where there is no break in the sixteenth note movement. Options include leaving a note out (last note in m. 7 is a good candidate), or getting a very quick breath on a downward leap (between the second and third sixteenth note of beat two in m. 8). In any case, avoid breaking the rhythm of the etude to breathe. Observe the printed dynamics, but keep the feel of the piece light and buoyant. Make sure to observe the diminuendo and ritardando in mm. 28 and 29, as well as the accents in m. 36.

Tuba Selection 1 Errata:
M. 14 - beat 3: 2nd 16th note should be a G, not an F
M. 17 - beat 1: 2nd 16th should be a G, not an F
M. 36 - beat 2: 1st 16th should be an E, not an F

Tuba Selection 2

Etude Title: No. 56, page(s) 48
Tempo: Eighth Note = 60–66

Play from: Beginning to end, no repeats

Performance Guide:
Perform this etude without repeats.

Your focus as you learn this lyrical etude should be on producing a well-planned and musical phrase. The initial directive of “dolce” (softly and sweetly) in the first measure should be followed throughout the etude. Think of singing a lullaby.
Be mindful of the turns in this etude. Those in m. 2, 4, 34, and 35 should be performed according to the example from m. 2: (See figure). Each of the following turns would change according to their starting note.
The turns found in m. 10 and 36 should be performed like the example from m. 10: (See figure). Note that the turns in m. 10 and 36 are half the duration of the rest of the turns in the piece. As with the previous example, the turn in m. 36 would change according to the starting note.
Maintain original tempo into and through the variation which begins with the pick-up to m. 17.It is not necessary to increase the tempo at this point. Special care should be given to the sixth-fourth notes in m. 31. The slurred staccato notes should be performed as tenuto or very connected. Take your time learning this etude and consider what you want to say.

Tuba Selection 2 Errata:
M. 19 - 5th note (1st note of beat 2) should be an A natural, instead of a C. All remaining A's in the measure should be A naturals, not Ab's.

Tuba Selection 3

Etude Title: No. 48, page(s) 41
Tempo: Quarter Note = 96–120

Play from: Beginning to end, no repeats

Performance Guide:
Perform this etude without repeats.

As with other technical etudes, this etude does not need to be performed at the tempo of presto (in excess of 170 beats per minute). Instead find a manageable tempo that gives you the best chance of allowing you to sound your best. Also, the direction, “sempre staccato espressivo,” merely means to place space between notes, not short. Any attempt by the player to make the notes short will ultimately result in a performance which is punchy and/or pecky. Imagine performing this etude with precision and ease. Pay particular attention to the marked articulations as they can be (intentionally) inconsistent. The best example of such inconsistency is found in measures 19, 20, and 21. The first line of this etude is marked mezzo forte with a subsequent crescendo to an unspecified dynamic level. Leave yourself room to achieve your loudest, most exciting dynamic level later in the piece, m. 22. In other words, the forte dynamic level in m. 4 should not be as loud as that found in m.22 or 23.

Always remember, practice slow!

Tuba Selection 3 Errata:
Add barline between m. 25 and m.26.
The articulation in m. 32 should be the same as that found in m. 33 (no slurs or staccato on beats 3 or 4).

Percussion - Snare Selection 1

Etude Title: 19, page(s) 38-39
Tempo: Quarter Note = 72–78

Play from: Beginning to End

Performance Guide:
Etude 19 in the Mitchell Peters Advanced Snare Drum Studies is a musically expressive etude. It requires the player to precisely articulate, shape and control rolls, perform intricate ornamental passages (with ruffs/flams), navigate metric/subdivision shifts, and develop a wide dynamic expression.

The quarter note pulse will become the dotted quarter note pulse in mm. 18–52. The pulse tempo stays the same, it just switches from duple to triple meter.

The tricky 4-stroke ruff passage from mm. 26-29 is facilitated well with this sticking: r-l-l-R (for the 4-stroke ruffs) OR the reverse l-r-r-L, depending on which you find the most comfortable. All other 8th-notes in this passage would be best consistent with one hand. Consistency and quality of flams is important throughout, but especially in mm. 49-51. Choosing a good sticking here will be critical to executing a smooth flow of 16ths.

All rolls, even when indicated with only one slash mark as in m. 45, should be buzz or concert-style rolls, not double stroke rolls. For mm. 18-23, the endings of rolls should be clearly articulated. This is so because the rolls are tied to releases. When rolls are not tied to a release (the rolls in m. 44, for instance) they should be lifted, meaning that they are detached, allowing for a small space or “lift” between each articulated roll.

Control of soft playing must be developed in order to execute the intricate and often rapid soft passages.

Percussion - Snare Selection 1 Errata:
-m. 9 - second half of this measure should be a 32nd note rest followed by a 32nd note, one 16th note, then four 32nd notes.
-m. 18 - beat 2 should be a dotted-quarter note

-Please change the following dynamics:
-m. 47 - sub p
-mm.48-52 - crescendo
-m. 53 - f (as originally marked)
-mm.55-56 - pp
-m.57 - p

Percussion - Keyboard (2 Mallet) Selection 1

Etude Title: Gigue from Suite III for Violincello, page(s) 60-61
Tempo: Dotted Quarter Note = 72–80

Play from: Beginning to Beat one of mm. 72

Performance Guide:
The performer should take careful consideration to play the 16th-note lines smoothly and not aim for articulation. A medium to medium-soft mallet is recommended as this piece explores the mid to low range of the marimba. The player should consider double-stickings in many of these lines that will help to avoid crossing the mallets.

Percussion - Keyboard (2 Mallet) Selection 1 Errata:
-Play all marked dynamics
-Crescendo from mm. 21-24 (mf at mm.25)
-Slight ritardando on mm. 47
-Roll beat one of mm. 48
-a tempo starting on beat three of mm. 48 (pickups to letter C)
-Roll beat one of mm. 68
-Add ritardando starting on beat two of mm. 70 to the last note which should be rolled (beat one of mm. 72)

Percussion - Keyboard (4 Mallet) Selection 1

Etude Title: Minuet, page(s) 30-31
Tempo: Quarter Note = 132–142

Play from: Beginning to End

Performance Guide:
Because this piece is in the middle to low register of the marimba, it is recommended to utilize a medium to medium-soft mallet. It is also recommended to explore using two softer mallets in the left hand, or one soft mallet in the lowest voice. It is important to try to produce smooth strokes as to avoid articulation and create the notated phrase markings.

Percussion - Keyboard (4 Mallet) Selection 1 Errata:
-Do not play any repeats
-Play all marked dynamics
-The second phrase, starting with pickups to measure 6, should be mf (mezzo forte) as marked. While there is a crescendo/decrescendo in measures 7-9, the dynamic should return to mezzo forte in the following phrase, which is pickups to measure 11 (per the publisher's measuring). It shall remain mezzo forte until the next dynamic marking (forte), which is pickups to measure 19.
-Beat 3 of mm. 26 should be p (piano) and not mp
-Play all marked crescendi and decrescendi. While these markings are only positioned at the bottom of the grand staff, it should be noted that they indicate a crescendo/decrescendo for both the treble and bass clef staff; or in both hands simultaneously.
-Measure 45 – bass line, eighth note on count three, correct pitch is A natural (not a Bb)
-ritardando mm. 67 to the final chord
-the last chord of the piece should be 'rippled' starting with the lowest voice to the highest voice (1-2-3-4)

Percussion - Timpani Selection 1

Etude Title: I, page(s) 4-5
Tempo: Quarter note 104–116

Play from: Beginning to The end of measure 63

Performance Guide:
Medium to Medium-Hard felt mallets would be appropriate for this etude. Avoid using a type of ultra-staccato mallet.

Muffle where possible as the dynamic will make the drums ring freely and many times will cause the drums to "bleed" into one another.
Play the 3/8 bars (m. 17) in a "1," not "3" feel
Suggested stickings work well, however the performer may choose stickings that will not cross. This will be up to the comfort level of the player in each of those techniques.

Percussion - Timpani Selection 1 Errata:
-Add "flip right stick to butt end" at mm. 37 (Returns to felt side at 49)
-in mm37-48, add the dynamic "mf"
-In mm. 36, change the dotted-half note to a dotted-quarter note.