All-State Band Audition Etudes

Flute and Piccolo Selection 1

Etude Title: No. 3, page(s) 3
Tempo: Dotted Quarter Note = 55–65

Play from: beginning to end

Performance Guide:
Play all

Boehm Op. 37, No. 21

This etude was selected as a way for flutists to solidify their understanding of compound meter and to develop accurate subdivisions of two, three, and four notes per eighth note. One important feature to notice is the hemiola in the opening measure, along with its later recurrences.

The articulation gives this etude much of its character, so strive for clarity and precision throughout.

Look for opportunities to create contrast from the main idea and make those differences clear. For example, measures 9–12, 15–19, and 21–22 have a more legato character compared to the more articulated opening material.

Although it is helpful to begin practicing with a strong awareness of eighth-note subdivision, the etude will ultimately feel more fluid when shaped in four larger beats per measure.

Flute and Piccolo Selection 1 Errata:
Errata:
m. 11, all C’s are natural.
m. 16 beats 3 & 4 all Fs are F#(sharp)


Piccolo: The low C naturals in measure 14 are to be played 8va. The C#’s in bars 21 and 22 are to be replaced with first line Eb’s.

Flute and Piccolo Selection 2

Etude Title: No. 8, page(s) 10-11
Tempo: Quarter Note = 50–62

Play from: beginning to 36

Performance Guide:
Kronke Op. 188, No. 2

I selected this etude to focus on lyrical playing while incorporating underlying technical demands. Accurate interpretation of the dotted eighth-note rhythm is essential. At first, it may be helpful to practice with the metronome set to the eighth-note subdivision, gradually transitioning to feeling the pulse in three. Precise subdivision is critical for a successful performance.

Pay close attention to the overall form of the etude. The opening theme returns multiple times with slight embellishments, and these variations should always remain connected to the character of the original statement.

The middle section shifts to D major, offering an opportunity to explore contrasting tone colors in relation to the surrounding D minor material. In this section, some notes are marked with trills; aim for a single, clean oscillation to avoid disrupting the tempo or losing momentum.

Flute and Piccolo Selection 2 Errata:
Errata: in m. 17, add a slur between the A and the G in beat 2 so that the articulation matches the articulation in measures 16 and 18.



Piccolo: The C Natural in bar 6 and 42 is to be replaced with a first line E natural. In bar 25, the C# is to be replaced with a second space A natural. The low C# in bar 32 is to be played 8va.

Flute and Piccolo Selection 3

Etude Title: No. 2, page(s) 2
Tempo: Dotted Quarter Note = 68–82

Play from: beginning to end

Performance Guide:
Boehm Op. 37, No. 20

I selected this etude to help flutists develop consistency in both single and double tonguing, as well as overall clarity of articulation. The primary challenge lies in maintaining consistent articulation across the full range of the instrument.

Begin by practicing the etude slowly enough that single tonguing is comfortable. Take time to explore where the tongue contacts the roof of the mouth or teeth, aiming for consistency at the front of each note and uniformity in note length.

Be aware of scalar passages, as they can appear unexpectedly and disrupt consistency. Pay particular attention to measures 28, 34, and 52.

In passages where the articulation feels less straightforward, consider isolating the articulation in your practice. For example, in measures 37–51, use the first note of each bar to practice and internalize the rhythmic pattern of the articulation.

Examine the harmony in measures 69–88. As it moves further away from F-sharp minor, adjust the tone color to support a musically satisfying progression. This section also provides a good opportunity to explore alternate B-flat/A-sharp fingerings. As a general guideline, change the thumb key when it is not otherwise in use.

Flute and Piccolo Selection 3 Errata:
Piccolo: All C#’s are 8va except in measures 23, 27, 81, and 89. In measures 23 and 27, replace the C# with a second space A. In measures 81 and 89, replace the C# with a second space A#.

Oboe and English Horn Selection 1

Etude Title: No. 8, page(s) 4
Tempo: Quarter note 104–116

Play from: Beginning to End

Performance Guide:
The marking for this etude is allegro moderato con fuoco, or “with fire.” Do not forget the moderato part of this marking! Practice this etude slowly, bringing extra attention to the accents. I would use air support to bring out the accents, instead of tonguing harder. One other way to emphasize those notes is to slightly back off on the surrounding notes, thus making the accents stand out. I recommend tonguing very smooth or legato when you are under tempo, allowing the tempo to take care of the staccatos as you gradually increase the speed. Resist the urge to make the tongued notes too “pecky.”

Most of the rhythmic issues in this etude come from incorrect counting on the ties. I think of the tied note having a slight lift so that you are not late to the following beat. Practicing the ties subdivided will also solidify those rhythms.

While very few dynamics are printed in this etude, that does not mean that you should remain forte most of the time! What will make your performance stand out is to add dynamics and phrasing throughout. This etude is technical, but that does not mean this etude should not sound beautiful.

While doing slow practice, check in with a tuner or play with a drone to make sure the tuning is good on the big interval leaps. This etude will go by fast, but the tuning will still be obvious to those listening to your performance.

If you are someone who likes to play high A-C with both the first and second octave keys, I encourage you to try playing beats 3 and 4 of measure 11 with just the second (side) octave key for the A and C. That way, you have one less finger to move during those big interval leaps.

Be sure to count the fermata rest near the end of the selection. You will definitely want at least 4 beats to catch your breath!

The “X” in measure 26 is a double sharp, meaning that you will raise the note two half steps. A C double sharp will be the same sounding note as a D natural.

The D# to E trill- finger left D# and trill your left hand ring/third finger. Remember that the following grace notes are a C double sharp (D natural) and D#, so you will pick up your left pinky for the C double sharp and press it back down for the D#.

Oboe and English Horn Selection 1 Errata:
Measure 17- next to last note (printed high C) should be a high B natural

Oboe and English Horn Selection 2

Etude Title: No. 13, page(s) 7
Tempo: Dotted quarter note 48–54

Play from: Beginning to End

Performance Guide:
This lyrical etude is all about creating long phrases and dramatic moments. Work to have a really wide range of dynamics to contribute to those. Practice your long tones, especially working on beginning a note at the same soft dynamic as you can end a note. I also recommend doing some reed only exercises to get more comfortable with the rolling in and out that is necessary for good tuning and response through the range of this etude.

Most of the breath marks in this etude work really nicely, but there are several that could be moved. If you have a strong musical idea that involves breathing at a different place- go for it! Breathing spots are not set in stone, as long as you play with confidence and bring out your musical ideas. Be sure to find some spots to exhale, so that you can continue playing with beautiful, long phrases, even as you feel fatigued.

Once you get to the sixteenth note section, resist the temptation to rush the tempo.

Remember to use your vibrato as another way to enhance your dynamics and musical ideas. You can always vary your vibrato speed as a way to intensify or calm the music, based on what mood you are setting.

There are a few grace notes throughout the etude, and I encourage lightly tonguing the first of each grouping to help place them.

Oboe and English Horn Selection 2 Errata:
In some older printings, measure 8, beat 2 is missing a dot on the high A to make it a dotted quarter note. New editions should have this corrected.

Oboe and English Horn Selection 3

Etude Title: No. 32, page(s) 16
Tempo: Dotted quarter note 58–68

Play from: Beginning to End

Performance Guide:
This etude is in c# minor. I highly recommend practicing your c# minor scales and some arpeggios to get comfortable with this etude. Also, if you are unfamiliar or uncomfortable with 3/8 meter, practice slowly with the metronome in 3 until you are faster and comfortable enough to feel it in one.

The only dynamic markings in this selection are two fortes. You will want to add other dynamics and find ways to make this etude interesting and musical. The perk of very few printed dynamics is that you can really make the etude your own and figure out dynamics that work well for you. There is not just one way to interpret this etude. Take risks and make confident musical decisions!

The emphasis on slurred articulations throughout this etude makes it much nicer to play, but it is very easy for notes to rush. Watch out for “easy” intervals where you are only moving one finger between notes. Those tend to be the spots that make our sixteenth runs uneven. Practice with your metronome subdividing to keep you honest and maintain an even distribution of sixteenth notes throughout each measure.

In measures 17-20, you will not be able to fit in many trills. I recommend getting the rhythm solid without the ornaments (trills and grace notes) first. Then, add in the grace notes so that you have a good rhythmic idea of where you want to place them. You can then add in the trills, making sure the rest of the rhythms are not changed. Make sure to have the same number of trills on each measure, not worrying about fitting in more than two trills on each.

Reminder that the “X” is a double sharp, raising a note two half steps (or one whole step.) In this etude, all of the double sharps are F double sharps. This will be the same as a sounding G natural.

There are two measures (42 and 45) in this etude that show a little 0 over a note, indicating that you should play an open C#. I do not recommend this. Even though this is a technical etude, the open C# has such a distinctive sound that I strongly recommend you play the normal half-hole C# fingering.

There are a number of low C’s to C#’s in this etude. Do what works best for your pinky, but I usually advise to play the C with the middle of the pinky and rock the tip of the pinky over to the C# key in order to facilitate the slide. Remember that the C# key presses down the C key, so you do not need to bend your pinky extra to let go of the C key.

Soprano Clarinets Selection 1

Etude Title: 40 Studies, No. 12, page(s) 13
Tempo: Dotted Quarter Note = 52–60

Play from: Beginning to end

Performance Guide:
Prepare this E minor etude with as smooth and fluid air flow as possible, utilizing a consistently fast and focused wind stream throughout. Your sound should be matched, even, round, and resonant from the highest notes of the etude through the lowest notes. Keep embouchure pressure around the mouthpiece consistently firm, particularly in the larger leaps. Charles Dancla was a violinist, so this was originally a study for violin. Imagining how a violinist might move the bow will help you imagine the smoothness and movement you’ll want to achieve in your airstream.

Place grace notes before the beat, without accents but with lyricism and elegance. Move fast air through the grace notes to give more weight to downbeats. Don’t allow grace notes to affect absolute precision of time and rhythm. Throughout the etude, maintain a consistent, lilting 6/8 feel including m. 7 and 9 (and subsequent similar measures). Slightly stress the beginning of each dotted quarter note beat to create the metrical accents that are commonly associated with a 6/8 time signature. Solid internal subdivision is critical: preparation will benefit from starting under tempo with metronome in 8th note pulse to help feel and perceive absolute rhythmic evenness, eventually transitioning to a faster, dotted quarter note ‘sway’.
Pay attention to equal ‘up’ and ‘down’ finger stroke to achieve as even and equal a 16th value as possible. Be mindful of maintaining your optimal hand position with rounded, curved fingers (especially index and pinky fingers) and a relaxed palm. Consider keeping the Bs in the right-hand pinky when possible such as in m. 7, 9, 15, and 48.

Each phrase should end with grace and elegant shape. Take breaths where indicated, though depending on your lung capacity, you may not need all of them. Be attentive of Mr. Hite’s marked dynamic indications to to create a variety of different moods and characters. Notice subito dynamics in m. 27 and 34. Take advantage of the musical sequences beginning in m. 16; grow through this long phrase, increasing both the volume of air and the wind speed.

Count carefully for the trill in m. 26, and ensure you are not late for the resolution of the trill. Consider resolving the trill in m. 26 by taking the following C of the resolution in the left-hand pinky. Be expressive with the speed of the trill as well as dynamics. Follow the pressez marking at m. 31, but relaxing tempo with decrescendo to phrase end is acceptable.

Note that m. 34 is softer than the opening, but the phrase builds to a fuller volume than before. For the wide leaps at m. 44, keep the embouchure consistently firm with a high, forward tongue position to prevent scoops between notes. Maintain a fast, focused wind speed for the ending soft high E. Be sure to match the pitch center of the E octaves in the last two bars.

Soprano Clarinets Selection 1 Errata:

Soprano Clarinets Selection 2

Etude Title: 32 Etudes, 31, page(s) 76
Tempo: Quarter Note = 54–63

Play from: Beginning to end

Performance Guide:
This etude in Db major enables you to perform with heartfelt expression, using your most beautiful, singing sound with a wide range of dynamics and characters. Continually refine your sound to match your best tone quality in all registers and dynamic ranges. When possible, leave the right hand down or find effective resonance fingerings for throat tone notes.

Take time for deep breaths throughout, constantly supporting the airstream for as smooth and connected phrases as possible. Effective phrasing is essential. Adhere to the shapes of lines, adding nuance as suggested by Mr. Hite’s musical markings. Graceful note endings are important in preparing subsequent phrases. Create long, connected musical phrases, and using wind speed, make each phrase’s shape, highpoint, tension, and release obvious.

Prepare slowly, thinking the eighth note pulse, gradually increasing tempo to a quarter note feel (while still organizing time in 8th notes.) Though preparation with metronome is helpful for developing a constant sense of subdivided pulse, it is critical to learn to control the tempo without metronome. A musically satisfying performance will profit from a sense of rubato throughout.

The right pinky should execute the slide in m. 3 (eighth note count 6) from E-flat to D-flat and the same interval from eighth note 6 to 7 in m. 12. Left pinky C should be used when preceded, or followed, by E-flat, such as mm. 3, 5, 13, and 16, Care should be taken to use the fork fingering, or bottom-right side keys, from F to G-flat. The turns in m.11 and m. 13 should be 5 equal notes that take the entire (eighth note) beat. The grace notes in m. 22 and 26 should be placed before eighth note count 7. The trill in m. 28 can be executed by fingering low Db and trilling the bottom-right side key. Flipping from G-flat to F is necessary when preceded by E-flat, such as mm. 3,12,32, or the sequence of F, G-flat, C from the last sixteenth note of m. 31 to the downbeat of m. 32.

Be sure to match the pitch center of the D-flat octaves in m. 35 and in the last two bars.

Soprano Clarinets Selection 2 Errata:
m. 6: The highest note should be a Db, not a D natural.
The turn in m.13 should have g natural as the bottom note.

Soprano Clarinets Selection 3

Etude Title: 32 Etudes, 24, page(s) 69
Tempo: Quarter Note = 92–104

Play from: Beginning to end

Performance Guide:
This playful etude in Eb major requires close attention to articulation style and finger/tongue coordination. Use this opportunity to solidify good fundamentals: “top of the tip of the tongue to the bottom of the tip of the reed” and “Just talk on the reed.” Tongue motion should be consistent: the same part of the tongue should return to the same part of the reed with each tongue stroke. Your sound should be matched, even, round, and resonant from the highest notes of the etude through the lowest notes. Avoid ‘clipping’ two note slurred groupings. Instead, keep the air moving off the ends of the slurs, simply allowing the articulation of the subsequent note to finish slurs. Keep notes under slurs evenly spaced, avoiding compression or rushing of the notes. Hear the beginnings of each note clearly, using a light tongue stroke, typically ‘tee” or ‘tu’, though ‘dee’ or ‘du’ may be best for some. Avoid heaviness or ‘peckiness’ in playing the staccato sixteenth notes. It would be easy to ‘overarticulate’ these notes, yet instead they should be clear, light, and bouncy: ‘teet’ or ‘toot’ or ‘deet’ or ‘doot’.

Take breaths where indicated, though depending on your lung capacity, you may not need all of them. Keep embouchure pressure around the mouthpiece consistently firm, particularly in the larger leaps. Fast wind should always be present behind the tongue so that the tongue can move as minimally as possible.

For fingerings: consider using the ‘1 and 1” fingering for Bb in m. 18, 26, 27, and 28. 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. In m. 19, 20, 23, and 24, be sure to play the C with your left-hand pinky. Again, pay careful attention to optimal hand position, rounded, curved fingers, especially index and pinky fingers, keeping the fingers directly over tone holes.

For octave leaps in m. 25, 31, and 36 through 40, be sure to play into the lower note of the octave confidently.

Soprano Clarinets Selection 3 Errata:
m.38: carry the f# on the first note to the second note.

Low Clarinets Selection 1

Etude Title: 32 Etudes, 26, page(s) 71
Tempo: Quarter Note = 92–112

Play from: Beginning to End

Performance Guide:
This fast etude is very challenging and requires slow and patient practicing. Work at a slow tempo and strive to master even control of the fingers and correct articulation patterns. Use a metronome to help and only play as fast as you can maintain good control throughout.

Fingering choices are very important for a smooth and fluid technique. Be sure you are using the left pinky key for C’s that are preceded or followed by E-flat throughout this etude. Use the chromatic fingerings for F-sharp and B-natural when necessary, as in m. 4,5,28 and other chromatic scale passages. Otherwise, consider using the right pinky keys for B-naturals and D-flats for all arpeggiated passages, as in m. 7, 9, 10, 13, 29. Also, try using overblown throat tone fingerings for high D and E-flat. Overblow the open G fingering for high D and the throat G-sharp key for high E-flat. Choosing the most efficient fingerings from the very beginning can help make learning this etude easier.

Follow the dynamics—including the crescendos and decrescendos—carefully. Additional phrase markings can be added to fit the music where otherwise unmarked. Use a consistent and fast airstream to support the technique and musical line. Aim to blow through the entire instrument.

The articulation in this etude should be well-defined but does not need to be short. Consider using the stopped-tongue staccato by placing the tongue back on the reed at the end of the note to create the separation between notes. Avoid the tongue sounding heavy or aggressive. Keep the tongue close to the reed and maintain a constant airstream to lighten the articulation. Use a bit more air for the accented notes, not a stronger tongue. Consider clipping the second note of the slur in slur 2, tongue 2 passages. Clipping the slur involves bringing the tongue to the reed on the second slurred note, but keeping the air stream constant.

The tempo for this etude is marked “Allegro furioso,” so try to capture the furious character of the music.

Low Clarinets Selection 1 Errata:
m. 1 through m. 12-no repeat
m. 8–remove the second slur in beat 2, so the the articulation patter is slur two, tongue two for the entire measure.
m. 19-slur from the second note in beat 1 through the fourth note of beat 2. The second slur in the measure starts on the second note of beat 3 and extends through the last note of the measure. The resulting articulation pattern is tongue one, slur seven for the entire measure.
m. 19-add staccatos to the first note of beat 1 and 3.
m. 25–extend the slur to the first note of m. 26
m. 26-start the slur on the second note, the high A-flat
Contra clarinets may play m. 34 down an octave, including the first note of m. 35.
Contra clarinets may play a quarter note high C in place of the first four sixteenth notes in measure 3

Low Clarinets Selection 2

Etude Title: 32 Etudes, 13, page(s) 59
Tempo: Quarter Note = 54–63

Play from: beginning to the end

Performance Guide:
It is important to begin practicing this etude by beating in eighth notes. Daily use of the metronome will insure consistent rhythmic subdivision between 16th notes, 16th note triplets and 32nd notes. Observe the breath marks and dynamics as indicated and crescendo to the high point of each phrase to create shape and direction to the musical line.

In mm. 7 and 53, the high C-sharp can be played with the left index finger only, essentially by overblowing a throat F-sharp. Likewise, the high D in mm. 53 and 62 can be played by overblowing open G. Voice the overblown fingerings with an "ee" tongue position and with a still embouchure.

In m. 13, use the fork chromatic F sharp fingering, then "flip" to the middle finger after the E sharp. Likewise, use fork F sharp on the last beat of m. 29 and in m. 56 after the E sharp. Play strict 32nd notes in mm. 17, 21, 22, 25, 26 and 34.

In mm. 27, 28, 29, 49, and 51, the 16th note grace note pairs found at the end of trills should be played as two 16th notes.

Use side-key F-sharp in mm. 14 and 58. Right pinky B natural is preferred in mm. 3, 11, 23, 25, 35, 43 57 and 58.

Low Clarinets Selection 2 Errata:
m. 36 - Add a slur on each sixteenth note triplet on beat three as in mm. 37 - 38.
In m. 21, the e natural on beat one should be a 32nd note, not a sixteenth.
Contra clarinets play mm. 26, 61 and 62 down an octave.

Low Clarinets Selection 3

Etude Title: 40 Studies, No. 11, page(s) 12
Tempo: Dotted Quarter Note = 45–60

Play from: Beginning to the end

Performance Guide:
Practice slowly in 6 with the metronome, then gradually increase the speed to perform the etude in 2. Keep the staccato notes light and not too short. The final performance speed will create the proper staccato length. Use over blown open G for the high D in mm.8 and 42. Use overblown throat tone A fingering for the high E in m. 41. You may also use the standard soprano fingerings for high D and E, but add the half hole in the left hand. Use left pinky C when preceded, or followed, by Eb, such as mm. 22, 23, 31 and 33. One and one Bb is recommended in mm. 22 and 24. Right pinky B is recommended in mm. 46 and 47 when not preceded or followed by C. Clip the second note of two slurred notes, but keep the air moving, to keep the tongue close to the reed for the remaining staccato notes.

Observe the breath marks throughout, adding breath marks that fit within the musical line. Think of long phrases to create a horizontal direction with the musical flow.

Low Clarinets Selection 3 Errata:
Contra clarinets may play the last 6 sixteenth notes of m. 41 and the first 6 sixteenth notes of m. 42 down an octave.

Bassoon Selection 1

Etude Title: 14 - Allegretto, page(s) 12-14
Tempo: Half Note = 54–66

Play from: beginning to m. 87 (From m.25 cut to m.49-ignore double bar)

Performance Guide:
Style is important in this etude, and Gebauer was a contemporary of Beethoven and Weber. Listen to the works of these composers to help understand late Classical/early Romantic style.
Placements of grace notes in this style is very important, but can be up to debate among scholars. The safest bet is to place all grace notes with slashes through the stems right before the beat. Grace note groupings without the slash through the stem should be placed directly on the beat. In m.4 when we see the first example, the grouping should sound like four 32nd notes. However, I will perform a variety of interpretations in the listening guide to show varying possibilities, all of which would be considered "correct".
Trills in this style do not necessarily need to start on the upper trill note. Again, consult the listening guide for ideas of execution.
In m.7 the F to G trill can be difficult. Leaving the right hand down can ease the trill between the two notes. Alternately, some bassoons may have a high Eb or E key on the left hand that may work for this trill.
Throughout this piece you will see a (V) symbol, the first of which occurs in m.4. This is another symbol for a slight break or even a breath mark. The breath is optional, but a small separation between notes should be made when you see this mark.

Bassoon Selection 1 Errata:
Play from: beginning to m. 87 (From beginning of m.25 cut to m.49-ignore double bar)
End at downbeat m.87
No other errata

Bassoon Selection 2

Etude Title: 21 - Adagio, page(s) 31
Tempo: Quarter Note = 54–66

Play from: Beginning (take 2nd ending, m.25) to Downbeat m.40

Performance Guide:
"Adagio" means to flow, so make sure the tempo remains moving forward.
There are lots of opportunities for rubato, which means "robbed time" where you can slow down and speed up the tempo. For this etude, rubato is mostly incorporated with passages of sixteenth notes or shorter. Think of these measures like little cadenzas, where you can play more freely. It will help to refer to the listening guide for possible ways to execute these passages.
Large leaps over an octave that are slurred can add a legato tongue to make a better musical presentation. Examples are in mm.4, 18, 21, 29, 35, 36, and 37. Refer to listening guide for execution.

Bassoon Selection 2 Errata:
High D in m.38 may be played down one octave.
Omit fermata m.39; play low E as a whole note.

Bassoon Selection 3

Etude Title: 12 - Poco presto, page(s) 8
Tempo: Dotted Quarter Note = 68–81

Play from: Beginning to End

Performance Guide:
As you learn this, count in three with the eighth note as the beat. As you increase speed, gradually start feeling in one, with the dotted quarter (one measure) as the beat. In your mind you may continue to think in three, but tap your toe to the measure. A slight accent on every measure will help feel the rhythm.
All the grace notes in this passage should come right before the beat. Refer to the recorded listening guide or your teacher for execution.
When staccato notes are present, be sure not to play too short. At performance tempo, playing too short will be difficult, so remain light and bouncy with the staccato.

Bassoon Selection 3 Errata:
None

Contra Bassoon Selection 1

Etude Title: Fifty Advanced Studies, No. 22, page(s) 96
Tempo: Dotted Quarter Note = 68–80

Play from: Beginning to end

Performance Guide:
This etude is in the key of d-minor and features a lot of arpeggiated figures. To show this structure, bring out the notes on the beat. These notes provide the harmonic and melodic foundation and leaning on the accents will help propel the musical line. The staccato sections are juxtaposed with a more lyrical section marked espressivo. In this section, use lots of vibrato with a rich, full tone, but keep in mind you cannot have too intense of a vibrato or your intonation will suffer, especially in the upper register.

This etude does not provide a lot of places to breathe, making the flow of the etude more difficult. Plan to take more frequent, quicker breaths that do not interrupt the momentum or musical line. Pacing crescendos and decrescendos with where you can take quick catch breaths will be crucial.

Throughout this etude, maintain the consistency of the staccato. It should be lifted and bouncy but never overly short. Allow the speed to aid in the staccato rather than clipping each note with the tongue. Repeated staccato articulations require more air and more support but less tongue.

When going to the high A in m. 33, use voicing to help you better find the pitch. A "tee" articulation instead of the normal "ta" will help you better center the pitch and be able to more easily play in the upper register of the contrabassoon.

Contra Bassoon Selection 1 Errata:
None.

Contra Bassoon Selection 2

Etude Title: Fifty Advanced Studies, No. 4, page(s) 82
Tempo: Quarter Note = 54–68

Play from: Beginning to end

Performance Guide:
This etude should feel like a gentle, rocking lullaby, therefore never rushed. Using proper low air support and not suddenly rushing your air will be key to allow the upper notes to come out with ease, and to sing, especially in the slurred leaps.

The piano sections are marked dolce while the forte sections are marked espressivo. Maintain a calmer, sweeter tone in the dolce sections by keeping a lighter, shimmer-like vibrato. In the espressivo sections, use more intense vibrato (speed and amplitude) to cause a distinct character difference. Be careful not to get too soft in the diminuendos as more support will help to keep the pitch centered and your sound smooth.

Contra Bassoon Selection 2 Errata:
None.

Contra Bassoon Selection 3

Etude Title: Fifty Advanced Studies, No. 28, page(s) 100
Tempo: Dotted Quarter Note = 68–84

Play from: Beginning to end

Performance Guide:
Keep this etude flowing with light, clean fingers and even triplet rhythms. Rely on slow practice, firm air support from low in your abdomen, higher voicing (more use of "tee" instead of "ta" articulations to raise the tongue and help facilitate higher notes), and a soft embouchure to ensure smooth slurs in the tenor register. This etude can be quite difficult if the player is biting down on the reed to help high notes speak. If D4 is not speaking cleanly on downward slurs, try adding the right-hand thumb B-flat key to facilitate the slur and raise the pitch.

Choose a tempo that allows this piece to sound light and fun, not frantic. If the tempo is too fast, the eighth rests will not allow proper time for a quality breath. You may choose to have a slightly slower tempo in the Trio section to add more contrast to the outer G major sections, but make sure to re-energize back to the original tempo on the da capo.

Make the most of the contrasts in dynamics and articulation styles without losing the character or disrupting the tempo. Keep mm. 13-16, 41-42, and 45-46 moving despite the accents, and avoid accenting the hemiolas in mm. 19.

There is plenty of repetition in this etude, so use this as an opportunity to vary your phrasing, including the da capo.

Contra Bassoon Selection 3 Errata:
None.

Saxophones Selection 1

Etude Title: Allegro, page(s) 34-35
Tempo: Quarter Note = 95–120

Play from: Beginning to End

Performance Guide:
Practicing the A-flat scale full range both tonguing and slurring— along with muscle memorizing repeated arpeggiated and chord patterns will help learn this etude more effectively. This etude should be played with Bis B-flat to avoid many of the A-flat/Side B-flat possible coordination issues. The articulation style should be light on the staccatos throughout with an occasional marcato (m. 2) and regular accented notes— which should be interpreted with subtle emphasis. This etude has little dynamic markings but should be interpreted with contour shaping but the few that are marked should be observed. Because there are many long phrases without rest or places to breathe—it will be necessary to create breaths. Breathing after the first triplet or sixteenth note in a measure that is either articulated or ends a slur group (e.g., m. 9, 12, 14, 22, 23 and other similar spots) is recommended —with the intent to regain the same tempo after the breaths are taken. Also — breaths can be taken after the rare eighth notes in m. 15 and 19. Due to the length of the cut — building muscle memory and pacing mental and physical endurance will be key to a successful performance of this piece.

Saxophones Selection 1 Errata:
None

Saxophones Selection 2

Etude Title: Andantino (in 6), page(s) 32
Tempo: Eighth note 88–100

Play from: Beginning to end

Performance Guide:
This etude offers the performer many opportunities to showcase his or her musicality, through the use of nuances such as dynamic contrast, articulation variety, rubato, and vibrato manipulation. The performer will need to follow the dynamic markings very closely, making clear differences between piano and pianissimo, mezzo-piano and mezzo-forte, etc. In general, dynamic changes should be subtle unless otherwise marked; a good exercise is to practice sixteen-count long tones at a metronome marking of 60, moving from pianissimo to fortissimo for eight beats, then reversing the process for eight beats, achieving a smooth and gradual dynamic change.

Vibrato should be employed freely, though not necessarily the same throughout. A good concept is to think of using less vibrato at softer dynamic levels, while using more at louder dynamic levels. It can also be effective to taper the ends of soft phrases using no vibrato at all. The performer should also be sensitive to the articulations; treat staccato markings as “lifted” notes without chopping the ends of the notes, and execute accents with more air rather than a heavier tongue.

Rhythmically, one must be very careful with any dotted figure as well as the few instances of thirty-second notes. Make sure to practice with a metronome that will divide the beat (keeping in mind the beat is the eighth note!) so proper placement of the beat divisions will occur. There are just a few alternate fingerings to consider: for the C-sharp to D trills, use the middle palm key for D instead of the regular D fingering. (Check this on individual horns; it works on most but not all!) For the F-sharp to G-sharp trill in m. 41, leave the G-sharp key depressed while trilling.

Saxophones Selection 2 Errata:
In m. 46, the dotted sixteenth notes should be dotted eighths.

Saxophones Selection 3

Etude Title: Vivace, page(s) 26-27
Tempo: Dotted Half Note = 65–80

Play from: Beginning to End

Performance Guide:
As suggested — this etude will ultimately be felt one beat to the bar with all staccatos articulated lightly. I recommend using the Bis B-flat throughout the etude with the exception of the adjacent B-flat to B natural places (mm. 42-43 and mm.54-55).Occasional G-flats (m. 38 and m. 50) should be played with Alternate or Chromatic F-sharp key throughout both measures. Also — keeping the Low C-sharp key down for the first four notes of M. 33 will make it more effortless to play this measure.

Most of this etude is straight eighths — however using a quarter note subdivision with a metronome in the non straight eighth measures (including the two quarter rests toward the end) will help make sure time and rhythm stays accurate throughout the piece. Getting the muscle memory of the scale and arpeggio patterns, followed by the articulations and dynamics is key to keeping continuity as you decide where to take breaths with this etude.

Saxophones Selection 3 Errata:
In M. 51. , the second to last eighth note should be F sharp instead of F natural.

Cornet/Trumpet Selection 1

Etude Title: No. 6, page(s) 8
Tempo: Quarter Note = 104–112

Play from: Beginning to End

Performance Guide:
Students should focus on bringing out the march-like character of this etude. In practice, both slowly and at tempo, focus on rhythmic precision, especially when placing sixteenth notes and when bringing out the contrast of the triplet passages. Strive to play the sixteenth notes with the same fullness of sound as sustained notes and use them to lead to the next note. Practice often with a metronome, both emphasizing quarter notes and eighth notes to facilitate subdivision and avoid rushing. This etude contains great dynamic contrast. Focus on bringing out these dynamics and thinking in phrases of at least eight bars to maintain overall connection throughout the etude.

Cornet/Trumpet Selection 1 Errata:
NA

Cornet/Trumpet Selection 2

Etude Title: No. 36, page(s) 33
Tempo: Dotted Quarter Note = 42–52

Play from: Beginning to End

Performance Guide:
Students can use this etude to showcase musical expression and beauty of sound. Strive to bring out dynamic contrast and make a compelling musical statement. Though the only written dynamics are piano and pianissimo, strive to play with a full, soloistic sound at a comfortable volume throughout the etude. Reaching louder dynamics occasionally at peaks of phrases can be effective when done with a relaxed, beautiful sound in service to overall musical expression. Use creativity to plan appropriate moments of rubato, but only after learning to play the etude accurately in time as written. Practicing trills slowly and planning how many alternations will take place in each trill will encourage consistency and ease throughout this etude. Start by removing trills in practice to facilitate proper rhythm. Grace notes are to be placed before the beat throughout. Focus on overall connection throughout this etude. For notes not under a slur, still strive for flow. Breath marks serve as lifts, but generally do not signal the ends of the phrases. Strive to keep the momentum of the phrase going in measures with breath marks, as well as those with rests. Choose a starting tempo with the faster passages in mind.

Cornet/Trumpet Selection 2 Errata:
NA

Cornet/Trumpet Selection 3

Etude Title: No. 39, page(s) 36
Tempo: Dotted quarter note 56–66

Play from: Beginning to End

Performance Guide:
Students should begin practicing this etude under tempo, feeling each measure in three and gradually increasing speed over time until there is one beat (the dotted quarter note) per measure. Rhythmic precision will come from practicing under tempo, thinking in three. Practice slowly and slurred to develop flow in the etude before moving to the written shorter articulation markings. Even when playing staccato, strive to maintain overall connection. Think in phrases of at least eight measures to maintain flow and direction. Pay extra attention to the written slurs and articulations when practicing slowly to transfer when performing at tempo. Strive to both bring out the written dynamic contrast and find peaks in each phrase to direct musicality. As mentioned in the errata, please mark sharps in front of all of the D's in measures 45 and 47 so that they are parallel to measures 5 and 7.

Cornet/Trumpet Selection 3 Errata:
mm. 45 and 47 - D's should be D-sharp (a total of four changed notes).
Note: initial tempo marking should be dotted quarter note (not quarter note) = 66, though students can choose a comfortable tempo between 58-66.

F Horn Selection 1

Etude Title: No. 45, page(s) 61
Tempo: Quarter note 75–90

Play from: Beginning to end

Performance Guide:
This etude calls for flexibility and accuracy from the player. The "con grazia" feel should prevail over tempo. Keep tempo steady in the sections with large leaps and strive to play high and low notes the same volume. In MM. 15-16, play lower octave when given a split. Articulation specificity is key, and one would do well to interpret the staccato marks as "lighter, separate" than simply "shorter."

F Horn Selection 1 Errata:
M. 9 - Should be F-sharps throughout.
In MM. 15-16, play lower octave when given a split.
Add staccatissimo marks to the downbeats of mm. 15-16. Updated July 13.
Add a staccato mark to the downbeat of m. 33. Updated July 13.

F Horn Selection 2

Etude Title: Andante, page(s) 40
Tempo: Quarter note 56–69

Play from: Beginning to end

Performance Guide:
I would recommend playing it right at 66 to the quarter. The bass clef measures are written in “old notation” and should be played as if written an octave higher. This particular etude will give you the chance to show your musical side, and to see if you can play very low with a good sound and good intonation. Phrasing is very important, as well as incorporating your breath marks. Pay close attention to the dynamic markings and play as smooth as possible. 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. Be sure to keep the turns in time and be sure to play a Bb in the second turn. Helpful hint, Kling was the master of writing very expressive etudes, so make this one come from the heart.

F Horn Selection 2 Errata:
There is no known errata.

F Horn Selection 3

Etude Title: No. 111, page(s) 128
Tempo: Quarter Note = 100–120

Play from: Beginning to End

Performance Guide:
This etude is swift and lively, work to bring that out after slower and isolated practice. Let the accents on higher notes help you for accuracy and the movement of the line. The goal of this etude is not how fast it can go but how well the player can bring out the musical lines of the triplets. I recommend exploring options of fingerings on both F and Bb side, especially Bb side, in ranges you may not typically use for consistency of moving notes. This etude should never sound heavy but rather big and full with plenty of dynamic contrasts. There are some lines (ex. Measures 4-8, 22-25) where the player can decide if a breath mark is helpful and shouldn’t be afraid to insert one in the context.

F Horn Selection 3 Errata:
All groups of three eighth notes are to be played as triplets even if no “3” appears above the group.

Tenor Trombone Selection 1

Etude Title: Bb Major - Maestoso, page(s) 2
Tempo: Quarter Note = 82–96

Play from: Beginning to end

Performance Guide:
Background.
Balasanyan’s etudes are frequently featured in Russian Collection volumes for brass instruments and have become a staple of pedagogical literature. They are valued for their musical substance as much as for their technical utility.
Style and Pedagogical Value.
These studies are characteristically lyrical and suited to the intermediate level, offering performers a structured means of developing expressive phrasing, secure intervallic control, and refined technical coordination. As such, they are commonly included on conservatory and university audition lists and are widely used in applied study settings.
Performance Considerations for Etude No. 1 in B♭, Maestoso.
This etude should be approached with careful attention to contrast and a sense of broad musical direction. The slurred triplet groupings must be shaped through the longer note values and heard as components of expansive two‑measure phrases, rather than as isolated triplet figures. In passages where two slurred notes are followed by a tongued pitch, it is important to avoid overly shortening the articulated note; all pitches should retain length and resonance.
Grace notes should be executed with clarity and immediacy, without allowing them to blend into or resemble the surrounding triplet material. Performers may choose to place grace notes immediately before the downbeat, using an extremely light legato articulation to preserve forward motion. Although the etude can easily take on a short, vertical character, the interpretive goal should be sustained tone, fullness of sound, and long‑line phrasing.
Breathing should be carefully planned and as unobtrusive as possible. Avoid predictable breathing patterns, particularly during sequential material, and resist the tendency to take frequent, short breaths. Concealed, musically motivated inhalations will help maintain continuity and reinforce the etude’s noble, maestoso character.

Tenor Trombone Selection 1 Errata:
None

Tenor Trombone Selection 2

Etude Title: C Major - Largo cantabile, page(s) 19
Tempo: Dotted Quarter Note = 50–65

Play from: Beginning to end

Performance Guide:
Domenico Gatti (c. 1820–c. 1890) was an Italian trumpet and cornet virtuoso, conductor, and composer whose pedagogical etudes remain central to our study.

Cantabile Style and Musical Character.

This etude should be approached vocally, as though singing an operatic aria, in direct response to the cantabile indication at the outset. Expressivity is paramount, and the performer should avoid an overly restrained dynamic palette. While the opening pp in measure 1 should be observed, it need only be sustained briefly before allowing the phrase to grow naturally. Measure 5 may begin at a similar dynamic level to measure 1 or at a more assertive volume, depending on interpretive preference. Above all, the performance should remain expressive and communicative throughout.

Dynamics and Expressive Shaping.

Although the score is rich in slur markings, clear articulation remains essential in passages that are not fully legato, such as measures 4 and 22. Measures 10 and 21 call for a portato articulation on the slurred–staccato figures. These notes should be imagined as full and resonant, with a gentle lift separating each pitch rather than a true separation. This articulation supports the singing quality of the etude while maintaining clarity and stylistic nuance.

Articulation and Vocal Emulation.

Legato playing should predominate, but clarity of tongue motion must never be sacrificed. When tonguing is required, it should serve the musical line rather than disrupt it. The goal is to emulate the natural inflection and articulation of the human voice, preserving continuity even in passages that require more defined articulation.

Vibrato and Phrase Structure.

Vibrato should be employed consistently throughout the piece as a primary expressive tool. Phrasing should generally follow a two‑measure structure, with breaths occurring approximately every two bars. This approach reinforces the vocal nature of the etude and helps maintain long, coherent musical lines. Internally, performers should maintain awareness of the eighth‑note subdivision of each beat to ensure rhythmic accuracy, while avoiding a rigid, mechanical delivery.
Tempo Flexibility and Rubato.
A tasteful use of rubato is encouraged and should be applied creatively. Measure 20 functions as a cadenza and should therefore be performed with significant rhythmic freedom. Additional opportunities for rubato may be found in the flebile section (measures 8–17) and the stentando passage (measures 17–20). While flexibility is desirable, the underlying pulse should not be abandoned entirely, as excessive tempo distortion can undermine structural clarity.

Interpretation of Italian Terms.

Performers are strongly encouraged to study and understand all Italian expressions included in the score, as Gatti employs an unusually rich array of descriptive terms in this etude. Many of these indications allow for a degree of personal interpretation, enabling performers to make stylistic choices that reflect individual musical taste.
Thoughtful, informed interpretation of these terms not only enhances musical depth but also offers the opportunity to present a distinctive artistic voice—an important consideration in audition and performance settings.

Tenor Trombone Selection 2 Errata:
none

Tenor Trombone Selection 3

Etude Title: Gb Major - Allegro ma non trOppo, page(s) 31
Tempo: Dotted Quarter Note = 86–108

Play from: Beginning to end

Performance Guide:
Pedagogical Context and Career Relevance.
The Oskar Böhme Étude in G♭ major serves as exceptional preparation for a potential career in trombone performance, particularly due to its extensive use of the dotted eighth–sixteenth rhythmic figure that appears frequently throughout the orchestral repertoire. Mastery of this rhythmic language is essential for stylistic fluency, making this etude especially valuable as a foundational technical study.

Tempo and Rhythmic Character.
The chosen tempo for this etude lies slightly above the traditional “ride” tempo, a decision that complements the energetic and forward‑driving nature of the material. Conceptually, the tempo falls between an intensified ride feel (91 bpm) and the brisk vitality associated with William Tell 108 bpm). At this pace, rhythmic precision must remain uncompromised, particularly in passages where the dotted rhythm predominates.

Slide Technique and Positional Awareness.
This etude demands a high level of slide control, with particular attention paid to timing and accuracy of movement. Avoid initiating slide motion prematurely, as this can undermine clarity and intonation. The frequent transitions between first‑position F♮s and fifth‑position G♭present ample opportunity for sluggish or imprecise travel; these shifts must be executed with efficiency and intention. Performers should become thoroughly familiar with the placement of middle B♭ in fifth position, as this reference point supports both technical security and tonal consistency.

Alternate Positions and Tone Production.
Technical challenges abound throughout the etude, and wise use of alternate positions is indispensable. While specific alternate choices may vary by performer, decisions should always prioritize phrase direction and tonal integrity rather than mere physical convenience. Thoughtful exploration of alternate positions will facilitate smoother phrasing, improved intonation, and a stronger, more centered sound.

Agogic Accents and Phrase Continuity.
The agogic accents placed on the third note of the triplet figure are an especially compelling feature of this etude, creating a subtle yet effective sense of metric displacement. Despite this shifting emphasis, rhythmic stability must be rigorously maintained, particularly from measures 15–22 and continuing through the conclusion. There is a strong temptation to release tied notes prematurely in these passages; instead, players should sustain fully through the ties, avoiding clipped releases and preserving the integrity of the phrase.

Articulation and Rhythmic Drive.
Articulation should support propulsion without sacrificing clarity. A light “T” articulation is recommended for all dotted eighth–sixteenth figures, though some performers may find that a gentle “K” syllable is more effective in the upper register. Regardless of articulation choice, the air should remain continuous—blow through the triplet “ride” rhythm and listen for broader phrase architecture rather than isolated gestures.

Practice Approach and Final Notes.
This etude rewards deliberate, detail‑oriented practice, with constant attention to rhythmic control, tonal consistency, and long‑range phrasing. Approach the technical demands with curiosity and discipline, and allow the musical line to guide technical decisions. With thoughtful preparation, this etude becomes not only a technical workout but also a compelling and enjoyable musical experience.

Tenor Trombone Selection 3 Errata:
None

Bass Trombone Selection 1

Etude Title: 15, page(s) 22-23
Tempo: Quarter Note = 88–96

Play from: Beginning to End

Performance Guide:
This etude should be performed in a light and nimble style. In order to establish this style, you must articulate with a swift and light articulation. While there are many ways to achieve this style, experiment with a "dooh" or "tooh" articultion on one note. This will help establish the correct style for this etude. There are also many changes between duple and triple rhythms in this etude, so it is critical to practice with a steady quarter note tempo from a metronome.

Bass Trombone Selection 1 Errata:
NA

Bass Trombone Selection 2

Etude Title: 2, page(s) 4-5
Tempo: Quarter Note = 60–70

Play from: Beginning to End

Performance Guide:
This beautifully mysterious D minor etude should be performed as musical and as lyrical as possible. Practicing a two octave D harmonic minor scale should be a basic requirement before attempting this etude. All natural slurs should be worked out and the legato tongue should match the lyricism of the natural slurs. Every attempt should be made to not break phrase markings. Printed position suggestions do not necessarily have to be observed. The performer should definitely add dynamics throughout the etude. The 8va in the last 4 measures is optional. A small amount of rubato definitely could be used in this etude. Dynamics should absolutely be added to this etude. Studying the etudes of Marco Bordogni would be great supplemental material in the preparation of this etude. As always, listening to great bass trombonists such as Jim Markey and/or Paul Pollard, as well as having a tuner, metronome, and recording device on the stand when practicing are the traits of a serious musician.

Bass Trombone Selection 2 Errata:
NA

Bass Trombone Selection 3

Etude Title: 8, page(s) 13
Tempo: Quarter Note = 98–108

Play from: Beginning to End

Performance Guide:
Consistency of articulation and style is the foundation needed to perform this etude at a high level. The Arban book is a great resource to aid you in your journey to establish a clear and centered sound. Practice scales exercises in the key of Eb to familiarize yourself with the key. It is important to pay close attention to the tempo marking "Moderately Fast." as it is easy to perform this etude too quickly, causing a frantic, and inconsistent style. A slow to moderate tempo, with a consistent sound and articulation, will yield better results.

Bass Trombone Selection 3 Errata:
Measure 40 should have a Gb instead of Gnat.

Euphonium Selection 1

Etude Title: A Major - Tempo di polacca, page(s) 43
Tempo: Quarter Note = 86–96

Play from: Beginning to Ms. 44 no repeats

Performance Guide:
This etude is highly rhythmic, but also highly energetic!
A Polacca is a Polish dance that has a very brilliant character; a successful and authentic performance will require pristine rhythm and a flair for the dramatic, but be mindful to keep things light and avoid sounding like 44 measure shouting contest. Staccato moments should not be considered purely short, the performer should strive for well defined articulation and an airstream that travels with energy. Tonguing harder will not create the same effect! The same can be said for accents, they should be weighted with breath, not assaulted with tongue. Grace notes should be fluid and stylistic, but not brash or distracting. 
Finally, make sure all decisions are made with a musical mindset! Contrast is key, but context always leads to more mature music making.

Euphonium Selection 1 Errata:
Play beginning to m.44 no repeats

Euphonium Selection 2

Etude Title: Eb Major - Adagio Cantabile, page(s) 6
Tempo: Dotted Quarter Note = 44–56

Play from: Beginning to End

Performance Guide:
Duhem’s Eb major etude is a beautiful piece with so many opportunities for creative and personal interpretation. As with any piece, it is vital to pay attention to the instructions, even if they are in another language! Capturing the tension built by a purposeful sostenuto, the singing quality of a mature cantabile, and the forward energy of a piu mosso are vital to successful performance of this piece. Every performer should have a thoughtful approach, carefully considering the release of notes that end phrases or precede breaths. Other expressive devices like vibrato and rubato can certainly be used, but be mindful of the context! Vibrato is not simply a switch we flip to sound more expressive, it should reflect the aesthetic of the phrase and complement the other musical devices being utilized. Rubato should be used to aid in the atmosphere of a phrase, but not to the point where the rhythm and structure become difficult to decipher. Finally, make sure to utilize a variety of articulations! All music can be elevated with an expressive approach to articulation!

Euphonium Selection 2 Errata:
Measure 36: should have an "a tempo" on beat 2
Measure 39: the two E's after the fermata on the C should be Eb.
In the last measure of line 6 on beat 4, there should be a natural on the fifth note - C (the flat should NOT carry through the measure).

Euphonium Selection 3

Etude Title: Allegretto grazioso, page(s) 21 (22)
Tempo: Quarter Note = 92–108

Play from: beginning to end (no repeats)

Performance Guide:
Gatti’s A minor etude requires precision and direction at all dynamics. The quiet intensity found in this piece should be practiced in the same fashion as fast technical passages: beginning with a comfortable dynamic that showcases our best sound and fundamentals, and then incrementally softening the dynamic while maintaining clarity, timbre, and resonance. Staccato moments should not be considered purely short, the performer should strive for well defined articulation and an airstream that travels with energy. Tonguing harder will not create the same effect! The same can be said for accents, they should be weighted with breath, not assaulted with tongue. Grace notes should be fluid and stylistic, but not brash or distracting. This piece has a consistent rhythmic intensity driving phrases forward, so be mindful to not lose that intensity by slowing down in the final phrase; the audience should be able to follow your pulse through the final half note!

Euphonium Selection 3 Errata:
M. 52 add "p"(revised 8/27/21)
M. 60 add "p" on the 16th note Concert E on the upbeat of count 1(revised 8/27/21)
M. 62 move the "ff" to the upbeat of count 1 (revised 8/27/21)
M. 64 change the "smorz" to "dim" (revised 8/27/21)

Tuba Selection 1

Etude Title: No. 17, page(s) 16
Tempo: Quarter note 76–86

Play from: Beginning to end

Performance Guide:
This etude gives tubists the opportunity to produce the type of full, broad sound that is so often our role in orchestra and band. Along with this, there are displays of virtuosity—including a two-and-a-half octave arpeggio—and moments of musical contrast. For example, the sudden change to piano in m. 4 and m. 26 could be effectively accompanied by a change in character, from “deciso” to “dolce.”

In keeping with the goal of a broad, bold sound, the opening rhythmic figure (beats one and two of m.1), which recurs often, should sound full. Even though the notes are of short values, they need to be fat with tone. Whether single or triple tonguing, your primary goal should be to “blow through” this figure and fill it out with rich sound. Practice the figure slurred as well as slower, reminding yourself that the exact same fullness of sound is possible when tongued and played at full tempo.

Rhythmic precision is essential to this etude. There are no fewer than ten different note values ranging from 32nd to half notes, all of which must be precise. For example, the 16th note in the second beat of m. 7 should be distinct from the triplet eighths in the third beat. The dotted-8th/16th figures (i.e., mm.9-12) should be noticeably different than the double-dotted-8th/32nd figures (i.e., mm. 19-21). Subdivision is the key in this regard (i.e., while playing a dotted 8th, hear three 16ths in your mind).

Tuba Selection 1 Errata:
In m.20, a slur should be marked from the first note (E natural) to the second (F), just as in the pairs of double-dotted-eighths to sixteenths in m.19. 

There should be a “p” marked under the E-flat in m.26 and a “cresc.” marked at the downbeat of m.27, just as in mm. 4 and 5.

Tuba Selection 2

Etude Title: No. 23, page(s) 22
Tempo: Quarter note 72–86

Play from: Beginning to end

Performance Guide:
The beautiful melody of this etude offers the tubist a chance to display an expressive and singing style of playing. The marking “dolce” should strongly flavor one’s approach to the music. While the only dynamic prescribed in the entire etude is “piano,” the performer nonetheless must shape phrases and use musical intuition in creating subtle dynamic variances. (The re-marking of “piano” in m. 16 could be taken as an indication that Blazhevich did not envision a strict adherence to “piano” through all of the first fifteen measures. Similarly, “Tempo 1” in the same measure leaves room for the possibility of a slight rallentando in m. 15.)

Phrasing provides an interpretive challenge in this etude, since the phrases are not entirely predictable or obvious. The performer will need to spend time considering where to phrase and how to shape lines that sound natural and beautiful. Expressive tools like vibrato and rubato (within the framework of a steady pulse) will help maximize the effectiveness of each phrase.

In this etude the performer is called upon to use two different types of articulation: slurring and legato tonguing. There should be a subtle but perceivable difference between the two. Also, careful attention should be given to slurring and tonguing exactly where marked. For example, the sixth note of the etude should be tongued, whereas the downbeat of m. 5 should be slurred.

Tuba Selection 3

Etude Title: No. 16, page(s) 15
Tempo: Dotted quarter note 48–56

Play from: Beginning to end

Performance Guide:
The primary goal of this etude is to transcend the rhythmic and fingering challenges in order to achieve the “dolce” type of playing that is desired. The music should sound swift and “easy”—the constant tied notes and repetitive rhythms not getting in the way of musical phrasing and a sense of line.

This etude is a test of one’s time-keeping ability because of all the ties into strong beats. The performer has to internalize the 6/8 meter and feel the rhythm in relation to that. Practicing with a metronome in different ways will help develop this, and careful subdividing is crucial (for example, think of eighth notes while holding the quarter note at the end of m. 6).

Measures 10-13 provide an opportunity to show an impressive dynamic range, from piano all the way to a strongly accented forte within the span of one beat. These measures also call for rhythmic precision. It is crucial that the 32nd notes be true 32nd notes and not 16th notes.

Measures 23-25 pose a challenge for the fingers. Conceiving of the passage in terms of the arpeggios, rather than as a string of unrelated notes, will make mastering the passage easier. Notice that mm. 23 and 24 both contain a fully diminished 7th arpeggio and a dominant 7th arpeggio (C# fully-diminished-7 followed by C7, and C fully-diminished-7 followed by B7). Isolate and practice these arpeggios.

The last two measures showcase the performer’s ability to move through registers gracefully. Try to develop a fluidity that will surprise your non-tubist listeners and break down some stereotypes about our instrument!

Percussion - Snare Selection 1

Etude Title: 17, page(s) 34-35
Tempo: Quarter Note = 100–108

Play from: Beginning to end

Performance Guide:
This lively snare drum solo in 5/8 will be a fun challenge for students! The alternating pulse of 3+2 then 2+3 can be a little disorienting at first. I recommend students practice the whole solo at 50% tempo (or slower, if necessary) and work to count the bars as five individual 8th-notes (five equal beats to the bar). Then, work on adding the pulse of 3/2, 2/3 to the piece before speeding it up.

Students should choose a roll-base at the beginning of the learning process that will be something they can use when the piece gets to tempo. I recommend sextuplets for louder dynamics and quintuplets for softer dynamics. At m. 38, a roll-base choice is needed to be made for the dotted-8th-note rolls. I recommend doing four individual arm strokes for each of these (a.k.a.: a buzzed 9-stroke roll) for the best quality of buzz sound, but students may find doing a different roll base better. It all depends on each player's strengths and weaknesses.

Accents should be made clear, while avoiding overplaying them (a.k.a.: avoid the typical "marching band accent-and-tap" style). Also, the marcatos (a.k.a.: "house-top accents") should be different than regular accents. My preference is to think of an accent as one dynamics louder than what's written, and a marcato is almost two dynamics louder than what's written and has a lot of snappy upstroke to it to give it a timbral difference as well.

Measures 29-30 are probably the most challenging out of the whole etude. Students (hopefully with the help of their instructors) should choose a sticking that works best for them. A big concern is to avoid accidentally accenting the ruffs/flams. I chose a sticking that utilizes flam taps and Swiss army triplet stickings to help me avoid accenting the ruffs/flams in this section.

- - - - - - - -

For helpful information about this etude and the other All-State Percussion Etudes, please visit my YouTube channel's playlist for reference videos and "Helpful Tip Videos":

https://www.youtube.com/playlist?list=PL_i_QbKfYblTRaB1xMagnyPIhrygkPZ-0

or visit Ensemble Block for these reference videos as well.

Percussion - Snare Selection 1 Errata:
- The 4th 8th-note of m. 56 “pp”. (Rolls and their releases in the bar are still forte; the last 3 16th-notes are pp)
- Crescendo from the downbeat of m. 57 until the downbeat at m. 61, which is “ff”.

- All non-accented flams and drags/ruffs should have a very slight emphasis (almost like a slight tenuto); however, there should be a clear distinction between non-accented flams and drags/ruffs versus accented flams and drags/ruff.

Percussion - Keyboard (2 Mallet) Selection 1

Etude Title: Allegro from Sonata III, page(s) 38-39
Tempo: Quarter Note = 112–120

Play from: Beginning to End

Performance Guide:
"Allegro" is an exciting piece of music that will help percussionists continue to advance in their playing. The opening has a mix of passages with and without accents. Student should make sure they note where accents are and especially where they are not. Also, the beginning is marked forte, but some dynamic room should be left so that students have the ability to play a significantly differentiated dynamic of fortissimo at pickups to m. 20.

Stickings should thought through at the beginning of the learning process so that students have a strong sense of muscle memory as they build up to playing this piece at tempo. Left-hand-lead stickings can be very beneficial in certain moments to help students play more fluidly around the instrument and can help increase their ability to play accurately. Please check out my video for the stickings I think would be most beneficial.

The hair-pin crescendo/decresendos (m. 10, 12, etc.) should be obvious to the listener; however, they should not be overdone. A good rule-of-thumb is to think about any crescendo or decresendo that does not have a dynamic marking after it as only being one dynamic level different. So, for example, the hair-pin at m. 10 would start at piano, go up to mezzo-piano, and then return to piano.

Another aspect of this piece is to bring out moving, melodic lines. At mm. 29-31, the perform should slightly emphasize the moving line that happens on each beat. Emphasizing this moving line with a slight tenuto can help give this moment more musical clarity; however, one should avoid giving a full accent to the moving line, as that would be a completely different sound/feeling that is not asked for in the music.

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For helpful information about this etude and the other All-State Percussion Etudes, please visit my YouTube channel's playlist for reference videos and "Helpful Tip Videos":

https://www.youtube.com/playlist?list=PL_i_QbKfYblTRaB1xMagnyPIhrygkPZ-0

or visit Ensemble Block for these reference videos as well.

Percussion - Keyboard (2 Mallet) Selection 1 Errata:
- Remove the repeat at beginning

- Remove the repeat at m. 9

- Move "piano" at m. 9 to the "and-of-four" of m. 8
- Add a "fp" to the last octave-F roll, and then crescendo back to "f"
- M. 24: The B-naturals should be removed; making them B-flats, which helps make this sonata consistent with the original editions by Handel. The B-flats also match the G-harmonic-minor chord that the accompaniment part would be playing at the same time in the original score. (This moment is incorrect in my video recordings, so please make sure students play them as B-flats)

Percussion - Keyboard (4 Mallet) Selection 1

Etude Title: Birchbrook, page(s) 54-56
Tempo: Quarter Note = 100–108

Play from: m. 17 to the end (Remove the repeat at m. 33 and take the second ending at m. 71)

Performance Guide:
"Birchbrook" is a dark and mysterious sounding solo and has many elements in it that will help the advancing percussionist improve their playing.

In the first part of the solo, students should work on making their rolls smooth and relaxed to help the sound sustain. Many younger percussionists roll too fast, creating a choppy, inconsistent sound that doesn't let the bar truly resonate. Also, I recommend striking all the notes of a chord at once, and then continuing the roll with the lower note(s) first. This is a great way to start the entire harmony of the chords and continuing it. The initiation of the roll is a fantastic concept that I learned from Bill Cahn when he gave a clinic at Clemson University in the late 90's that I still use on all melodic instruments to this day. The only thing students should avoid is accidentally accenting the beginning of the chord. The start of the chord should be as loud as the rest of the roll (unless marked otherwise).

Staccatos should be played with a "quick, delicate stroke; not dead-strokes" according to the composer, Mark Ford.

Learning to do the direct tempo change at m. 33 is challenging; however, the use of the JamTracks created by Robbie Green and Alex Tomlinson can better help students effectively internalize this tempo change. A major problem I have encountered with students playing this solo is that they take the m. 33 section way too fast, which can cause accuracy issues as well as other issues.

Lastly, a challenging moment in the solo that might not seem to be is mm. 71-78. Keeping the right-hand's octave in the correct position while the left hand is moving around in a much lower octave can cause accuracy issues. Two things can help with this section: (1) lower the body by bending at the knees (not lower back) can help increase your "wing span" so the large space between the two hands doesn't feel as wide, and (2) keep the body still so that your right-hand/arm can stay on the octave F's while the left arm moves only from the shoulder. By not moving your body and right arm, it will help to keep the octave stationary so more mental and visual focus can be given to the left-hand's moving part.

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For helpful information about this etude and the other All-State Percussion Etudes, please visit my YouTube channel's playlist for reference videos and "Helpful Tip Videos":

https://www.youtube.com/playlist?list=PL_i_QbKfYblTRaB1xMagnyPIhrygkPZ-0

or visit Ensemble Block for these reference videos as well.

Percussion - Keyboard (4 Mallet) Selection 1 Errata:
- Remove the repeat at m. 33 (take the second ending at m. 71)
- Staccatos should be "quick, delicate strokes; not dead-strokes." ~ Mark Ford

Percussion - Timpani Selection 1

Etude Title: Etude #2, page(s) 6-7
Tempo: Dotted Quarter Note = 70–74

Play from: Beginning to End

Performance Guide:
"Etude 2" covers a lot of great timpani elements that the advancing timpanist should work on, including: quick dynamic changes, tuning changes during rests, quick movements around the drums, and more.

The first, musical idea students should work on is feeling the dotted-quarter-note pulse for the whole piece. Some young students have a hard time feeling "triple-based" meters, and this is a great opportunity for students to get better at that. There are many ways to help students feel the three-8th-note feel (as opposed to trying to re-pulse the etude and feel it in quarter notes). This can be done by students pulsing their body to the pulse, tapping their foot/toes to the pulse, or even use their marching band skills of marking time in place behind the timpani (I only recommend this for the beginning of the learning process, not for performing).

Stickings should be considered at the beginning of the process. I recommend watching my video and marking in the stickings, but students and their instructors should also consider other stickings and videos of this piece as well. One section that will need some attention in regards to stickings is mm. 59-61. This sections can benefit from taking some time early on and working out stickings that will help best with moving around the drums. I highly recommend looking at both right-hand-lead and left-hand-lead stickings before trying to add any doubles. Doubles tend to have many issues, but if they are used, evenness should be of the highest concern.

Speaking of doubles, I recommend using quite a few doubles in mm. 41-45; however, I believe using alternating strokes on the big beat 2 of m. 43 is best for creating the most opportunity for quality of sound and reduction of cross-overs.

Lastly, because of the quick tuning changes, I recommend using a timpani stool for this etude. It will help students pre-set their feet on the pedals so they can quickly change the pitches.

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For helpful information about this etude and the other All-State Percussion Etudes, please visit my YouTube channel's playlist for reference videos and "Helpful Tip Videos":

https://www.youtube.com/playlist?list=PL_i_QbKfYblTRaB1xMagnyPIhrygkPZ-0

or visit Ensemble Block for these reference videos as well.

Percussion - Timpani Selection 1 Errata:
- Do not take any repeats

- Make the 6-bar rest at m. 19 a 3-bar rest

- Make the 4-bar rest at m. 48 a 2-bar rest
- Make the 4-bar rest at m. 62 a 2-bar rest
- Make the 2-bar rest at m. 74 a 1-bar rest
- “Eighth-note rests are not intended to be muffled, they are merely markers of time and offset syncopation.” ~Alex Orfaly