All-State Band Audition Etudes

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Flute and Piccolo Selection 1

Etude Title: No. 9
Page(s): 28
Tempo: Quarter Note = 84–88

Play from beginning to end.

Errata:
-Last Measure (M.49) the first note on beat one (Low C) should be a half-note. (This errata only applies to later book editions)
-Measure 16 - Beat 2, both 16th notes within beat two should be an F-Sharp.

Performance Guide:
Piccolo: to play all low C's as written C in the staff, on octave higher

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Flute and Piccolo Selection 2

Etude Title: No. 10
Page(s): 29
Tempo: Eighth Note = 56–76

Play from beginning to end.

Errata:
None at this time.

Performance Guide:
This is a lyrical etude and rubato should be added when appropriate.

Ancora piu mosso dotted q=46-60

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Flute and Piccolo Selection 3

Etude Title: Allegretto
Page(s): 42-43
Tempo: Dotted Quarter Note = 44–54

Play from beginning to end.

Errata:
no repeat, take second ending

Performance Guide:
no repeat, take second ending

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Oboe and English Horn Selection 1

Etude Title: No. 20
Page(s): 10
Tempo: Quarter note 84–96

Play from Beginning to end.

Errata:
None

Performance Guide:
This G minor etude is marked allegretto, which shouldn’t be played terribly fast to give us time to pay attention to clean, mixed articulations, interesting, dynamic contrasts, and playful, delicate trills. The trills should be executed on the beat with a slight lean into the primary note of the trill to create an accent. We can also help bring the trills out by putting a lift with our air just before placing the trill. There are also lots of mixed articulation patterns, such as two slur and two tongue, or three slur and one tongue. Make certain to play through all the slurs and support with your air into the staccato notes. We never want to clip the ends of our slurs. All of the staccato in this should be very separate, but never short or pecky. The speed and support of your air will aid in the separation of the staccato notes. For slurred passages, especially downward-slurs, make sure that your air doesn’t drop off too soon before you reach the ends your phrases. You have to go up before you can come down. There are dynamic markings in this etude, but there are instances where it is left up to the performer’s best judgment. Always follow the motion of the line to achieve your dynamic contrasts. If you have an ascending line, it usually means a crescendo is appropriate, and a decrescendo for a descending line. But again, remember to stay up with your air before you come down in your decrescendo so you don’t lose the beautiful melodies!

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Oboe and English Horn Selection 2

Etude Title: No. 37
Page(s): 19
Tempo: Eighth Note = 76–92

Play from Beginning to End.

Errata:
None at this time.

Performance Guide:
Although this Andante etude is marked eighth note=92, I prefer to play it a little on the slower side so that the sextuplets remain relaxed and the 16th notes don’t feel rushed. A musical figure that we will see quite a bit in this piece is the 16th note – 32nd note figure. We always need to execute this figure by putting a little lift in after the dotted 16th. Always preserve the rhythm of this figure, never making it into more of a triplet- really feel the 32nd note subdivision. Another musical figure you will see recurring in this. etude is syncopation. With syncopation, we always want to stress the notes that aren’t landing on strong beats. Therefore, you will often see accents on them. These accents are weighted accents that we need to do with our air rather than a harsh tongue. Looking at measure 11, we see some syncopation with eighth notes. Observe the accent while also putting small lifts before each new note. We will want to do the same thing on the accented, syncopated note in measure 15 and measure 23 as well. Legato is really the key here. Any staccatos under a slur that you see should be played slightly detached, but still on the longer side. Any breath marks notated are good. You may feel like you don’t actually need to take a breath, but they are there to add tension to the musical line. Just make sure that you end the notes before the breath marks with forward direction. Consider putting the slightest rallentando at the end of measure 24 as you proceeded into the recap melody. Stay strong until the end, and for fun, I would choose the optional high B in the last measure.

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Oboe and English Horn Selection 3

Etude Title: No. 12
Page(s): 6
Tempo: Quarter note 112–126

Play from Beginning to end.

Errata:
None

Performance Guide:
You can achieve the intensity and “furious“ character of this etude by utilizing air support to execute punchy accents, lively staccato, and energy in your musical lines without needing to take the tempo up to 132. Starting with your first note, support the accent with tongue and tone, and do the same with the subsequent accents. Drive dramatic crescendos up to the tops of your phrases and let them cascade back down by staying up with your air until you get close to the bottom. In measure 13, we have some thematic material that looks very much like the beginning, but this passage sounds more like F major here. You can consider putting an accent on all of the staccato downbeats, although it will need to be a gentler accent than what we did in the first two bars. Make sure that even though the dynamic is forte, you lighten up your tone and change the character to reflect the major key, which is the first time we’ve heard it yet. We quickly return back to D minor in measure 17, so the crescendo into that measure can be very intense, even though we are technically descending into it. Stay up and over with your air in these long descending chromatic passages. Don’t let the ends fall off. Do add accents back in measure 24 and 25 as these should be possibly even more intense than the ones at the beginning since we’re ramping up to the ending here. There are lots of “three and one” and “one and three” articulations in this etude. I wouldn’t worry too much about banging out the staccato notes as they will be separate on their own if you are just using a proper amount of support. This etude is a great place to get practice on your chromatic scales and on your diminished arpeggios. In measure 26, you have an opportunity to practice using your right hand G sharp in this arpeggio. But if the prospect is too daunting, forked F will work just fine too!

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Soprano Clarinets Selection 1

Etude Title: 32 Etudes, 26
Page(s): 71
Tempo: Quarter Note = 100–120

Play from Beginning to end.

Errata:
M. 1-12 No repeat

Extend the slur in m. 25 to the downbeat sixteenth note in m. 26. This downbeat is an A-flat, not an A-natural. Begin the next slur on the 2nd sixteenth note in m. 26. The second 16th note is as marked, an A-flat.

m. 8--Remove the slur from the last two sixteenth notes of beat two

m. 9--Extend the slur to the F-natural at beginning of beat three

m. 10--Extend the slur to the E-flat at the beginning of beat three.

m. 11--Third sixteenth of beat 4 is B-flat

m. 16--The last sixteenth note of beat 4 is a C. (the ledger line is missing)

In m. 19, the first slur should begin on the high C(2nd note of the measure) and extend to the B natural on beat 3.

Performance Guide:
Strive for evenness, shape, and direction of the musical line during the mixed articulations, especially in m. 1, 2, and 4. Observe the left-hand C fingering indicated in m. 2 and other approaches from E-flat to C, such as m. 3, 10, 15, 20, and 34. Use chromatic F-sharp in measures 4, 28, 36 and subsequent chromatic measures involving the half-step from F to F-sharp.

Chromatic B-natural should be observed in m. 5 and subsequent measures involving the half-step from B to B-flat. In m. 7, 10, 13, and 29, use right-hand
B-natural for evenness and economy of motion. The grace note in m. 17 should be played before the beat. The accents should be observed to give musical drive and direction of the melodic line.

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Soprano Clarinets Selection 2

Etude Title: 32 Etudes, 21
Page(s): 66
Tempo: Quarter Note = 64–74

Play from beginning to end.

Errata:
-The double sharp in the m. 15 "cadenza" applies only to the note it precedes.

-m. 24: grace note F double sharp does not carry through the measure.

Performance Guide:
This etude provides a wonderful opportunity to showcase beautiful, singing lyricism while playing in an expressive operatic style. Develop as refined of a sound possible on each note and in all dynamics and registers. Use care to find optimal resonance fingerings for throat tones that will also keep the pitch of these notes from being sharp. Take full, deep breaths throughout, and constantly support the airstream for as smooth, even, and connected phrases as possible.

Be sure to have a tempo in mind before you begin; it is wise to choose a tempo while considering faster moving passages. Double dotted quarter note and dotted quarter notes rhythms should be checked for accuracy. In m. 6 use the chromatic F-sharp fingering the first time it appears, then the middle F-sharp for the next appearance in the same measure. Consider m. 15 and 16 as cadenzas; it is appropriate to perform these measures with flexibility in tempo. The turn in m. 19 may be easier to play using the top right hand trill key to play B-natural as long as the sound is not adversely affected. Check fingerings carefully in m. 21 in order to avoid an unnecessary pinky finger slide (C-sharp on the left, B-natural on the right, B-sharp on the left and D-sharp on the right). Keep the trills in m. 22 and 24 lyrical. It is acceptable to use a single trill if necessary to maintain grace and elegance in the phrase.

While preparation with the metronome is helpful to develop a constant sense of subdivided pulse, a musically satisfying performance will profit from a sense of rubato and flexible time throughout. Follow the shapes of phrases convincingly, adding nuance where suggested by musical markings. Dynamic markings should be closely followed.

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Soprano Clarinets Selection 3

Etude Title: 32 Etudes, 28
Page(s): 73
Tempo: Dotted Half Note = 56–72

Play from Beginning to end.

Errata:
None at this time.

Performance Guide:
This etude develops ease in pinky fingers and sliding. Be attentive of using constant air support. Listen to match the tone between stepwise notes and arpeggiated notes alike so the sound is seamless throughout. Provide a solid river of air throughout for notes to float upon, then follow the shapes of lines with your air.

Choose fingerings that avoid the pinky sliding except where marked. The middle line B is best fingered with the right pinky finger except in measures 13, 15, 23, and 32. Middle staff C# is best fingered on the right side whenever it is not followed by a D# as in m. 11, 13, 14, 22, 25, 29, 30, 39, 42, 43, and 55. Chromatic fingerings aid finger fluidity, especially chromatic F# in measures 6, 7, 18, 53, 56, and B-natural in measures 2 and 48.

In sliding between pinky keys, play at the tip of the pinky key, using a firm, definitive finger stroke to the subsequent key. Accents in m. 13, 14, 43, 44, and 55 serve to create rhythmic interest. Observe them carefully, using faster, denser air rather than heavier tongue stroke. The marking, “playfully”, is key to effective style. While slow, consistent practice with a metronome in a quarter note pulse helps develop rhythmic evenness. Feeling the pulse in one beat to the bar will help the etude flow lyrically.

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Low Clarinets Selection 1

Etude Title: 32 Etudes, 6
Page(s): 52
Tempo: Quarter note 88–100

Play from Beginning to End.

Errata:
m. 19 through m. 31-no repeat
Move the breath mark between m. 44 and 45 one measure earlier, so that it falls between m. 43 and 44
The articulated sixteenth notes in measures 30, 33, and 34 should have staccatos marked on them, so that they match all other articulated sixteenth notes.

Performance Guide:
This etude poses many technical challenges, but can be very fun to play. Practice very slowly at first until you have mastered the technical patterns and then gradually speed up the tempo. Use a metronome frequently to help with the evenness of rhythm. Consider using the right hand pinky keys for B and C# (and low F#) as often as possible. This should actually make playing these notes easier because it keeps the finger patterns in the same hand.

In the section from m. 20 through m. 31, avoid excessive movement in the left hand. Work to keep the left wrist and hand as still as possible and keep the fingers close to the keys. These smaller motions are ultimately easier to control. You might consider playing a crescendo from m. 24 to the downbeat of m. 30 to help the lead through the harmony in these measures.

Pay close attention to the articulation patterns from the very beginning. It is important to learn these articulations accurately because relearning an articulation can be a frustrating process. You might consider drawing attention to the ever-changing slur patterns by emphasizing the first notes of slurs. Work to play with a well-defined articulation. The staccato markings do not necessary mean to play these notes short, but doing so can create a crisp and playful style. Keep the tongue action light and close to the reed, while using a fast, steady airstream throughout. Avoid using little puffs of air to play the staccatos and instead use the stopped-tongue technique by placing the tongue back on the reed at the end of the note. Using the syllable “deet” or “teet” might help to find the right articulation. You might also consider clipping the ends of slurs to prepare for the following articulated notes.

Strive to play with personality and character in your performance. You are encouraged to enhance your performance by adding crescendos and decrescendos to create musical shape throughout the etude. It is often simplest to exaggerate the direction of the melodic line by getting louder as the notes ascend and softer as the notes descend. Remember to keep the airstream consistently fast regardless of your dynamic.

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Low Clarinets Selection 2

Etude Title: 32 Etudes, 16
Page(s): 61
Tempo: Quarter Note = 50–56

Play from Beginning to End.

Errata:
m. 8: accidentals do not carry through other notes in this measure. The first two notes in beat 4 should be C-natural and B-flat
m. 12: the two B-flats under the second slur should be tied together to match the first half of the measure
m. 20: The lower note in the turn should be B-natural
m. 22: The new tempo in this measure should begin at the start of the measure and be about 6 clicks faster than your starting tempo.

Contra clarinets should strive play all notes in the octave they are written if possible. However, if necessary, contra clarinets may make the following changes:
m. 3-omit the high D and play the first 32nd note as a 16th note instead
m. 10-play one octave lower through the first note of m. 13
m. 17-play the last three notes and the first note of m. 18 one octave lower
m. 25-play the last four notes one octave lower through the end of m. 27
m. 35-play the high D one octave lower

Performance Guide:
Here are some general tips for playing this lyrical etude. This etude is in legato style, meaning “smooth and connected.” Work to connect notes so there are no gaps of silence between them and be careful with the beginnings of notes to avoid placing an accent on them. Always play with your best, most beautiful tone quality. Follow the dynamics and other expressive markings carefully. Articulate very gently and consider tapering the ends of phrases so that silence does not happen abruptly.

Use a metronome and subdivide the eight-note to ensure you are maintaining proper rhythmic integrity throughout your performance. You might consider playing the 32nd notes in m. 3 with a bit of rubato, starting slower and speeding up slightly at the end. Similarly, the grace notes in m. 8 are a short cadenza and should be free of strict time. Start rather slowly and gradually speed up as the rhythm indicates. The tempo in m. 21 should be significantly slower, perhaps even half the speed as before.

The section that begins in m. 22 is in the minor key, and provides an opportunity to create some musical drama. Play this section with bold intensity and a stormy energy. You might consider lingering on some of the faster notes slightly, to bring extra emphasis to them. The notes marked with the marcato accent in m. 27 are good candidates for this stretching, but there are many others. Be sure to maintain the original rhythm even if playing with a slight sense of rubato.

Consider playing high D and high E-flat with the overblown throat tone fingerings. Over blow the open G (or add the register key) to play high D, and over blow throat tone A-flat to play high E-flat. This works on contra clarinets as well.

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Low Clarinets Selection 3

Etude Title: 32 Etudes, 17
Page(s): 62
Tempo: Quarter note 84–100

Play from Beginning to End.

Errata:
m. 14 going to m. 15: extend the slur one note further to match m. 30 going to m. 31
m. 18: the eighth notes on the upbeats should also be marked staccato
m. 20: begin the first slur one note earlier, slurring the from high G to the first note on beat 2
m. 22: the eighth notes on the upbeats should also be marked staccato
m. 29: extend the slur one note further so that it matches measure 1
m. 43: first note in beat 2 should be C#
No distinction should be made between sixteenth notes marked staccato and unmarked articulated sixteenth notes.
Contras may play down an octave beginning on beat 2 in m. 38 through the first note in m. 39

Performance Guide:
This etude poses many technical challenges, but can be very fun to play. Practice very slowly at first until you have mastered the technical patterns and then gradually speed up the tempo. Use a metronome frequently to help with the evenness of rhythm. In passages with B and C-sharp next to each other be consistent with which pinky is playing either note. Consider using the right pinky key for B if C-sharp is not present, as in m. 1.

Work to maintain proper time and rhythm during the trills and grace notes. Try to play the grace notes very quickly before the beat, being sure to place the note after the grace notes on the beat. The trills might be more expressive if the speed of the trill starts a bit slower and accelerates near the end.

Pay close attention to the articulation patterns from the very beginning. It is important to learn these articulations accurately because relearning an articulation can be a frustrating process. Work to play with a well defined articulation. The staccato markings do not necessary mean to play these notes short, but doing so can create a crisp and playful style. Keep the tongue action light and close to the reed and use a fast and steady airstream throughout. Avoid using little puffs of air to play the staccatos and instead use the stopped-tongue technique by placing the tongue back on the reed at the end of the note. Using the syllable “deet” or “teet” might help to find the right articulation. You might also consider clipping the ends of slurs to prepare for the following articulated notes.

A “polacca” (from the tempo marking) is a type of dance, so strive to play with personality and character in your performance. You are encouraged to enhance your performance by adding crescendos and decrescendos to create musical shape throughout the etude. It is often simplest to exaggerate the direction of the melodic line by getting louder as the notes ascend and softer as the notes descend. Remember to keep the airstream consistently fast regardless of your dynamic.

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Bassoon Selection 1

Etude Title: No. 1
Page(s): 2-3
Tempo: Quarter Note = 72–80

Play from Beginning through the end of m. 33, to cut to the downbeat of m. 48 and play to the end.

Errata:
m. 29, in beats 3 and 4, both F’s should be F-naturals
m. 48, beat 3, through m. 49, beat 1 should all be under one slur

Performance Guide:
Your tempo choice here should reflect the “Allegretto” indication at the beginning of this etude. It is slower than Allegro, and it should never feel hurried. While this is considered one of your “technical” etudes, it really has more of a lyrical character, and making the sweeping gestures throughout requires time.

As you play through the many slurred arpeggiated figures, be aware of your voicing in the different registers of the instrument. When you start the etude, for example, the low C requires warm air and more open vowel sound in your mouth, while the E on beat 3 requires a firmer embouchure, more lifted support, and a higher vowel sound.

Notes before rests should be held full value, unless otherwise indicated. For example, the quarter note in measure 4, beat 3, should touch the quarter rest on beat 4 – the same in measure 8, measure 10, etc. The staccato notes should all have bounce, using an air stop rather than a tongue stop to achieve lightness. In the groups of two-note slurs, like in measure 13, try to avoid clipping the second note of each slur. Articulation alone should provide plenty of distinction while still allowing you to make longer phrases.

The trills in measures 48-49 should always be played with control - not too fast, evenly, and with good intonation on both notes of the trill. Try practicing the trills in a measured way (in 16th notes, for example), and only once you can successfully do that should you try to speed them up or shape them in any way. You should also practice the nachschlags (the two grace notes at the end of the trills) without the trills to ensure you are executing them successfully.

A few note-specific recommendations:

If you find your lowest E-natural to be a bit sharp, you can depress the low-C# left pinky key (the one next to the resonance key) to lower the pitch slightly.

In measures where you have D# to F# in the staff (like measures 7 and 11), you have a few options for how to achieve that in a clean way. I recommend utilizing your “front” F# key (right pinky) rather than your “back” F# key (right thumb) so that your right thumb is free to play the D#. If you are committed to using your “back” F# key, you could also try just using your left hand alone to play the D#, though that can be a bit unstable.

When working on getting good response on the high notes, like the B in measure 32 or the very last high C of the etude, focus your attention on the notes that precede the high note. There will be a tendency to rush through those notes to try and get it over with sooner, but doing the opposite will increase your likelihood of successful response. If this part of the bassoon is unfamiliar to you, take time to learn the new fingers by incorporating them into your daily practice routine. Work on scales, long tones, and interval training in that register of the instrument to build familiarity with these notes. Be patient – it can take time to learn new fingerings! On the high B in measure 32, if you’re finding it to be sharp, try leaving off your pinky resonance key. On the high C in the last measure, try using your very top left thumb key, whether you have four or five of those keys.

As you practice this etude, with its many arpeggios, pay special attention to how you are getting from note to note, and work out any intervals that are not clean at a slow tempo. Isolating the challenging bars where your technique needs improvement and executing successful repetitions of those tricky spots will help you build confidence as you prepare this etude.

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Bassoon Selection 2

Etude Title: No. 9
Page(s): 18
Tempo: Quarter Note = 54–66

Play from Beginning to the downbeat of m. 24 (add fermata to final note).

Errata:
m. 7, beat 6, there should be a slur over the trill to the downbeat of m. 8
m. 14, beat 6, third note should be A-natural
m. 16, beats 5 and 6, second notes should be A-naturals
m. 23, start the rallentando on beat 4

Performance Guide:
This is a beautiful etude in the sad-sounding key of C# minor. Find a narrative or some descriptive words that you believe best fit this etude, and make sure your musical ideas reflect them. Playing this etude successfully is all about air speed and getting from note to note in a connected, smooth, clean way. Try thinking about using “legato” air – constant, unbroken, smooth, uninterrupted, etc. If you’re having trouble making connections between notes, like in measure 1, imagine little crescendos between notes. Just thinking about them will give you a little more pressurized air. If you find two notes or a group of notes that you’re having trouble connecting, isolate them and ask yourself if you have good air speed, if your fingers are coordinating correctly, if you need more support between notes, or if you need to adjust the vowel sound in your mouth. It will usually be some combination of two or more of those things.

Low note response on bassoon can be a tricky thing. Some reeds favor low notes, others don’t. This is why it’s important to have multiple reeds on you at all times with a mix of ages and strengths and to rotate them somewhat equally so that you don’t end up with “The One Good Reed.” Incorporate low note articulation into your daily warm up. Set your metronome to, say, 60, pick a note (like the first C# of the etude), and practice starting the note consistently. It can be quarters notes, half notes, with rests, without rests, different dynamics, etc. The start of your notes should mostly come from a good air stream while adding just enough tongue to create clarity in the beginning of your note. Imagine how a cello player would sound starting these notes, with a bow on a string, and try to imitate that sound. We don’t want clunky articulation.

Practicing this etude without vibrato is a great way to discover how you’re getting from note to note and where your pitch centers are. If anything is unstable without vibrato, vibrato will only highlight those instabilities. When you do decide to incorporate vibrato, a good general rule is less or slower vibrato on low notes, and a more singing, faster vibrato on higher notes. It is up to you to decide how and where you want to use vibrato in this etude – use it expressively. If you are looking for a systematic way to practice your vibrato, check out this unit from Music and the Bassoon:
https://www.musicandthebassoon.org/50-units/unit-41#ex1

Before adding any rubato (expressive shaping of the phrasing and tempo) to this etude, practice first with a metronome to ensure accurate rhythm, subdivisions, and technique.

The two-note slurs in measure 4 should be long, not clipped.

For the trill at the end of measure 7, if using your right pinky feels awkward, try using your right thumb Ab (the last right thumb key, below your right F# thumb key).

In measure 23, begin the rallentando in the middle of the bar rather than the end so there is a sense of greater finality when you play the last C# with the added fermata on it.

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Bassoon Selection 3

Etude Title: No. 21
Page(s): 40-41
Tempo: Half Note = 60–84

Play from Beginning to End.

Errata:
All articulated 8th notes should have staccato dots

Performance Guide:
There are two main focuses of this etude: articulation consistency/clarity and rhythm. Start by learning this etude at half tempo, in four. Yes, half tempo! This will allow you to really hear the quality of sound on every single note. Is each note the same length? Is the start of every note clean, with no cracks? Is each note the same shape? These are all things that you can easily address by doing super slow practice, and only once you have mastered the articulation of every note should you consider speeding things up gradually. Do play the dynamics, even at slow tempos.

Achieving clarity of articulation more often comes down to air speed more than how you’re using your tongue. If you find that your articulation often feels late, ask yourself if your air speed is at full speed from the beginning of the note or if you are kind of sneaking into the note. If you find the notes have a crack at the beginning, where a lower or higher note is speaking first, ask yourself why. Is it half hole related? Do you need more or less half hole? If it’s on lower notes, is your support too high? Is your oral cavity open enough to allow those notes to resonate? If it’s the A-D right above the bass clef staff, are you flicking where appropriate? Is your articulation lining up with your thumb flicking action? If you’re in the tenor register, is your air pressurized enough? Is your support fully engaged? These are all questions you can ask as you search and destroy clarity problems in this etude.

Rhythmic accuracy here is important. As you learn this etude, you should have constant eighth notes running in your head. The rests here are just as important as the notes and should be observed with the same intention as the notes you’re playing. As you speed up the tempo and move in a feeling of two rather than four, focus on keeping the music light and bouncy. Playing the etude in two should help you feel longer phrases as well, even with all of the rests and short notes.

All quarter notes should be played long.

As you play through the etude, be aware of your piano dynamics. The tendency is for pianos to get louder the longer we play. Short notes also tend to get longer the more we play, so be extra intentional with your articulation as you approach the end of the etude.

Focus your practice time on the most challenging measures (i.e. measures 35-46, 66-67, 73-74), and try to keep your tempo steady. The tendency will be to rush.

Have fun with this etude!! Find a character to keep in your imagination as you play, maybe a character that’s constantly on the move, light on their feet. If you get bored with the metronome, there are plenty of Drum Loop resources out there for you to experiment with. They can help you establish a groove for this etude while keeping you on tempo track.

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Contra Bassoon Selection 1

Etude Title: Fifty Advanced Studies, No. 10
Page(s): 85
Tempo: Eighth Note = 80–96

Play from beginning to end, no repeats.

Errata:
None at this time.

Performance Guide:
Learning this etude first will improve your comfort level in the more traditional range of the Contrabassoon before expanding to the higher notes that are called for in the other etudes.

Prepare to learn this etude by by practicing your g minor scale and arpeggios. Prepare to learn your g minor scale by practicing your Bb major scale.

This piece is an example of triple meter that should have strong emphasis on beats 1. This is easier to pull off on the faster side of the tempo range so that it sounds in one (with the dotted half note getting the beat). You’re more likely to need to write in accents or tenutos on beats 1 if you’re giving the quarter note the beat. Please learn your etudes at slower tempos and then only try faster tempos when you’re ready to do so steadily and cleanly. Clean and steady playing will raise audition scores more than a fast tempo can.

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Contra Bassoon Selection 2

Etude Title: Fifty Advanced Studies, No. 45
Page(s): 117
Tempo: Dotted Quarter Note = 60–66

Play from Beginning to end.

Errata:
None at this time.

Performance Guide:
Please consult this excellent fingering chart often, http://me.subcontrabassoon.com/BoboCbsn1.pdf You’re most likely to need to consult the chart when you’re learning this etude because of the high Cb in measure 21. Measure 1 is the first complete bar, by the way. The first 3 eighth notes of the piece are considered to be measure 0.

Prepare to learn this etude by practicing your eb minor scale. Prepare to learn your eb minor scale by learning your Gb major scale.

Take the dolorosamente to heart as you plan the phrasing in this etude, and keep the tempo moving with a touch of rubato as the phrasing allows. Subdivide ties and longer notes carefully. Aim for a warm, singing tone in the tenor register without biting on the reed. Use vibrato as you’re able and vary it according to the phrase’s requirements; avoid vibrato pulses in any semblance of subdivision within the chosen tempo (i.e. triplets or sextuplets).

I tend to prefer this etude on the slower side of Larghetto (quasi-Largo, in fact), but it can still be very effective at the faster end of the tempo range.

Experiment with right-hand pinky G-flat 3 to avoid awkward finger jumps or slides, for notes such as the second to last eighth note in measure 16.

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Contra Bassoon Selection 3

Etude Title: Fifty Advanced Studies, No. 13
Page(s): 87
Tempo: Quarter Note = 120–156

Play from Beginning to End, with no repeats..

Errata:
Add a ritardando to measure 28 and rest for 2-4 beats during the fermata over the next bar line.

Performance Guide:
Prepare to learn this etude by practicing your a minor scale and arpeggios, Prepare to learn your a minor scale by practicing your C major scale.

This piece is most effective at a tempo that feels in 1, with the dotted half note getting the beat. It would be best to learn it at a controlled tempo with the quarter note getting the beat, though.

I recommend breathing between phrases in the middle section, best pulled off by slowing down the tempo before your breaths. The 4 instances where I’ve planned to breathe in this manner are in measure 21 after the staccato first eighth note, in measure 26 after the first eighth note, after the quarter note at the end of measure 38, and after the quarter note at the end of measure 40.

---

Saxophones Selection 1

Etude Title: No. 28
Page(s): 14
Tempo: Quarter Note = 112–126

Play from Beginning to end.

Errata:
There should be two diminished 7th arpeggios in measure 13. The last sixteenth of the third beat should be an F-natural, and the third sixteenth of the fourth beat should be an A-flat.

Performance Guide:
Marked “Allegro spiritoso”, this etude should be played in a spirited or upbeat fashion. Much of the contrasts and interest in this etude arise from shifting articulations. As you encounter new melodic ideas, you’ll notice corresponding changes in the articulations. These shifts can guide your musical phrasing and emphasize the importance of these contrasts.

To enhance your fundamentals on the saxophone and tackle this etude effectively, consider practicing the most common articulation patterns found within it (4-note groupings):
Slur 2 Slur 2
Tongue 1 Slur 3

Additionally, work on these articulation combinations using the C minor scale and arpeggios. For overall improvement, explore applying these articulations to all major and minor scales to familiarize yourself with these patterns.

When practicing, employ general techniques for faster etudes: start with slow practice using a metronome to absorb all the details and contours of the music. Gradually increase the tempo over time, and have the metronome subdivide either eighth or sixteenth notes. This will help you perform the varied articulations evenly while maintaining a sense of musical line.

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Saxophones Selection 2

Etude Title: No. 31
Page(s): 16
Tempo: Eighth Note = 52–59

Play from Beginning to End.

Errata:
None at this time.

Performance Guide:
Marked ‘Adagio pietoso,’ this etude should be performed with tenderness and compassion. The performer should aim for maximum connection and fluidity across the larger intervals in the melodies. Many of the articulations, primarily accents, should be interpreted in the context of their given dynamics. In passages marked ‘piano,’ the accents should be subtle and not overly prominent within the texture.

The original tempo marking suggests feeling the 16th-note pulse, but adopting a slower tempo with an eighth-note pulse makes it easier to find the desired connection between phrases. Initially, this slower beat may pose a challenge, so using a metronome to subdivide eighth notes can help maintain a steady pulse for the player.

Tuning across larger intervals can be challenging. To address this, practice these notes (such as those in measure 5) out of time, focusing on holding each pitch, developing a crescendo, and tuning each pitch. Additionally, practicing vibrato with a drone can help the student develop a keen musical ear for hearing these larger intervals.

Fingering suggestions include: last note of measure 33 going into measure 34 - that G# should be fingered using the low C# key. The last note of measure 35 going into measure 36 is a G# and should also be fingered using the low C# key.

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Saxophones Selection 3

Etude Title: No. 10
Page(s): 5
Tempo: Quarter Note = 96–108

Play from Beginning to end.

Errata:
None

Performance Guide:
Marked ‘Tempo di Polacca,’ this etude should capture the spirit of a Polish dance, also known as a Polonaise. Therefore, the player should strive to deliver an upbeat and playful performance. Emphasize the varied accents within the phrases and maintain a sense of forward momentum throughout the etude.

The most challenging sections of this etude involve the articulations at the faster tempo. Begin by practicing at a slow tempo, using a metronome to focus on rhythmic steadiness and accuracy of the given articulations. Strive to make sure you fingers and tongue line up. Note that the melody often repeats but with different articulations (for example, compare measure 1 to measure 32). Pay close attention to these subtle changes.

To enhance your fundamentals on the saxophone and tackle this etude effectively, consider practicing the most common articulation patterns found within this study (4-note groupings):
Slur 2 Tongue 2
Slur 3 Tongue 1
Tongue 1 Slur 2 Tongue 1

In measures with extended staccato articulations (such as measure 25 and measure 38), focus on your airstream and maintain a lighter tongue. Make sure your tongue is positioned closer to the reed for maximum efficiency.

The etude also includes several ornaments, such trills and grace notes, which can make feeling the rhythm challenging. Initially, play the baseline melody without these ornaments to understand the underlying music. Then gradually add the ornaments (one at a time) repeating until you fully understand how the music fits together.

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Cornet/Trumpet Selection 1

Etude Title: No. 15
Page(s): 16
Tempo: Dotted Quarter Note = 58–72

Play from Beginning to end.

Errata:
m. 29 – Add a F (forte) marking starting on the downbeat.
m. 33 - Beat 2, is a G#

Performance Guide:
This etude should have a nice lilt without sounding hurried, rushed or frantic. Attention should be given to the placement of slurs throughout the etude. (ms. 1 and 2: slur 3, tongue 3; m. 4: slur 2, tongue 4; ms. 5 and 6: tongue 1, slur 3, tongue 2)

Overall, the dynamics are softer with exceptions in m. 29 and m. 61 – avoid playing too loudly. The articulation should not impede the musical line and should be a smooth as possible. Most likely m. 36 though m. 49 will give performers the most trouble, be careful that this section stays exactly in time until the molto rit. in m. 47. The arpeggios in m. 65-69 can also be troublesome, experiment with alternate fingerings for the best facility and intonation.

Rhythmically, be very careful to not compress sixteenth notes within a grouping. As performers get more comfortable with quicker tempos, it is important to incorporate slow work to ensure all sixteenth notes are equal throughout.

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Cornet/Trumpet Selection 2

Etude Title: No. 30
Page(s): 30-31
Tempo: Dotted Quarter Note = 56–72

Play from Ms. 33 to end.

Errata:
m. 93 Third note should be an F natural

Performance Guide:
This focus of this etude is rhythm and phrasing. In the first section (of this excerpt) performers will alternate between triple (meter) and duple (meter). Figures as found in m. 40 should be treated as duple eight-notes (two to the bar) and figures as found in m. 57 will be treated as duple sixteenth-notes (four to the bar). Feeling this etude in ONE (to the bar) will help considerably. All duple eighth notes (like in m. 40) are slurred with exception in ms. 63-64, which will be lightly articulated.

While some breath marks are provided and give clues to the phrasing, the performer will most likely need to add a few breath marks that are not given. It is the selectors opinion that adding breath marks will ADD to the performance, rather than take away.

Starting in m. 81, the placement of the slurs will give the musical line a feeling of two against three OR duple meter. Notice that the articulations are: tongue 2, slur 2, tongue 2, slur 2, etc. In this instance a feeling of duple is encouraged and provides variety to the etude. All lines should be played as lyrically as possible regardless of difficulty.

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Cornet/Trumpet Selection 3

Etude Title: No. 1
Page(s): 3
Tempo: Quarter note 92–108

Play from Beginning to End.

Errata:
None

Performance Guide:
Articulation is the focus of this etude. A successful performance will feature a clear and consistent articulation without eighth notes becoming short or detached. The marcato indication is only encouraging the performer to play this with a full, but not forceful, fanfare-like quality overall.

As the musical line becomes more arpeggiated, it is important that lower notes are not lost. Be careful to not compress the sixteenth notes together, especially when following a dotted quarter note. As skips become larger, it is the goal that ease and clarity in articulation remains and the line doesn't sound labored.

Breathing can also be a challenge in this etude, especially in sections starting from m. 13-34 and m. 43-54. Quick catch breaths following eighth notes can be used, or lifting and taking a full breath at the end of a phrase is also possible if quick breaths are not possible - performers also may wish to play a complete section in one breath.

Nagel makes a practice suggestion at the bottom of the page for practice only, which is to slur through sixteenth note skips - this can really aid the performer in developing a beautiful easy sound throughout the etude, if incorporated.

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F Horn Selection 1

Etude Title: No. 9
Page(s):
Tempo: Quarter Note = 86–100

Play from beginning to end.

Errata:
Some triplet markings may be missing from the part (m. 17 on beats 3 and 4, m. 18 on beat 3, mm. 21-22 on beat 1, 3, and 4, m. 23 on all beats, and similarly in mm. 24-28. Ms. 29, 31, and 32 all have triplets on beats 3 and 4). There are some eighth notes that are grouped together that aren’t triplets, such as mm. 9, 11, and 15.
The piu vivo is marked to begin on beat 2 of m. 36.

Performance Guide:
The emphasis on this etude is maestoso, and the performer should pick a tempo that feels stately. The fieramente direction at the beginning refers to the dotted eighth-sixteenth pickup notes as well as sustained long notes for energetic phrases. Also, pay attention to the contrast in the dynamics. The contrasting sections in the softer dynamic should have more of a lyrical/connected feel as compared to the opening fieramente. Choose your opening tempo wisely, as you will need to go a little faster (not much) at the piu vivo in m. 36. The trill in m. 16 should be played as a lip trill (f side, open fingering to play C-D). Bass clef notes are written in old notation style and should be played an octave above where they are written (mm. 35-36: low B and C).

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F Horn Selection 2

Etude Title: No. 33
Page(s): 29
Tempo: Eighth note 92–120

Play from Beginning to end.

Errata:
Some printings of this book may start the etude on a different page. Use Etude No. 33.

Performance Guide:
For this etude, the style should be smooth and lyrical, showcasing the horn’s slurring capabilities between larger skips. Keep everything connected. The staccatos that occur in measures 13, 17, and 20 should be just slightly lifted, not short, to keep within the style of the etude. All articulations should be more of a “Doo” or “Doh” tongue, rather than “T” syllable starts. Measures 25, 27, 29, and 31 should be as smooth as possible. Consider Bb horn fingerings here for ease. Measures 35 and 36 are old notation bass clef and should be played an octave higher than written. (Eb, D, C, Bb). Be very expressive in this etude and create beautiful music!

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F Horn Selection 3

Etude Title: No. 3
Page(s):
Tempo: Quarter Note = 104–126

Play from beginning to end.

Errata:
none

Performance Guide:
“Souvenir de Mozart” basically means in remembrance of Mozart or a memory of Mozart, so this etude should be light throughout but not so short that the tone suffers. The form is a theme and two variations. There are not many dynamics or phrase markings written, so be creative. Make sure that the beat four dotted eighth sixteenths (in the original theme) sound like pickups leading to beat one, as well as in the similar phrasing in the two variations. This will help with correct phrasing even in the technical portions.

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Tenor Trombone Selection 1

Etude Title: No. 82
Page(s): 62
Tempo: Quarter Note = 92–100

Play from Beginning to end.

Errata:
None at this time.

Performance Guide:
This etude will emphasize style and delicacy in a technical etude.

Play this étude with energy and style. Lift every second eighth note at the end of a slur to keep the etude feeling light and also have forward motion. Pay careful attention to the slurs on ascending eighth note leaps to make them clean and consistent with the weight on the bottom note of the slur. It is recommended that you use a very light tongue on the upper note for consistency and accuracy. In measure 1, for example, use the syllables "ta di ti" to tongue all the notes. If you choose to natural slur, use the syllables "tah hee ti".

Make sure to put emphasis on accents that occur on the first of a group of four sixteenth notes and give direction through the quarter note on beat three, leading across the barline into the next measure. (measure 17, for example). This will ensure the proper weight is given to the gesture and will provide added motion as well as connect these short gestures.

The use of alternate positions will help some of these passages feel and sound smoother. For instance, in measures 14, 17, and 22 play the D's in a lowered 4th position. Playing the F natural and harmonic minor scales two octaves will help with the intonation and technique of the scale patterns throughout.

There are some challenging phrasing and slur markings in this etude, leaving very few spots to breathe. You will have to make a decision whether to break a slur at specific spots. Make this decision based on your sense of whether the music needs continuous forward direction, and consider the most efficient places to breath based on your own needs. For example, between measures 1 and 2, and also 2 and 3 try to not breathe so that you can carry the direction across the barline. Instead, try to make it to measure 4 and break the slur between the F and G on beat 1 (breathe before the G).

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Tenor Trombone Selection 2

Etude Title: No. 74
Page(s): 54
Tempo: Half Note = 40–46

Play from Beginning to End.

Errata:
None at this time.

Performance Guide:
This etude highlights lyrical playing over a wide range with rhythms that move somewhat quickly for a "slow" etude. Tuning, articulation style, and musical phrasing are essential to a good performance.

Tuning and alternate positions are very important in this etude. Practice F# minor scale patterns and arpeggios in 8th note and triplet rhythms. Make sure to tune 5th position F#s and C#s in the staff, and practice using 6th position for E# especially when it is preceded or followed by an F#. Be sure to make the correct slide adjustments between high F# (in a raised 3rd) and high G# (in regular 3rd).

Musical phrasing is particularly important. Make sure to feeling the half note as the pulse in the 5/2 meter, however also pay attention to accuracy of both 8th note and triplet rhythms. Use rubato to shape phrases by pushing and pulling the tempo slightly to increase or decrease tension. The triplet may feel fast so use a metronome to ensure that you do not drag these.

There is a lot of variety of articulation so be sure to pay attention to the detail of what is on the page. Use natural slurs when possible, and try to make natural slurs and legato style match. If you use a legato tongue when crossing a partial make sure it is especially light. You may want to use a light legato tongue for the top note of large ascending leaps for added security. If you do this, use "ta-dee" so the top note is not articulated too hard. Sections that are marked "sostenuto" should be full value, but may have a variety of articulations. For example, measure 1 is "sostenuto" but includes slurred and non-slurred notes. Be sure to only place a slight lift at the end of non-slurred notes so that you adhere to the "sostenuto" style and character. To achieve the "sostenuto" style in measure 9 where there are no articulation markings, be sure to play with a clear tongue, but keep the notes full value by blowing through the line.

Notice that there are also sections with only tenuto markings - in these spots keep the tongue clear but add a little extra weight and length the the notes. Be sure to make all slur markings clear to bring out phrasing and rhythmic constrast between 8ths and triplets. For example in measure 1 the slurs connect two notes, however in measure 2 the slurs connect two or three 8th notes at times, and also connect triplets.

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Tenor Trombone Selection 3

Etude Title: No. 52
Page(s): 32
Tempo: Eighth note 108–112

Play from Beginning to end.

Errata:
In m. 25, add a ritardando going into the low B natural at the end of the measure. The two pick up notes into m. 26 are back at the original tempo.

Performance Guide:
This technical etude will help develop a good understanding in reading music in a compound meter. It will help students read rapid scale & arpeggiated patterns and it will help develop technical facility.

The entire etude should be played in a light, playful, animated, and separated style. Use a “Too” or “Tee” syllable throughout the etude and avoid using a “Tut” syllable. Keep all 16th notes lifted without being too short.

Make all dynamic markings, tempo changes, and style markings noticeable. In particular, exaggerate sudden dynamic changes or changes that happen over a short period of time. To ensure good rhythm, practice this etude with a metronome and make sure all figures that include sustained and tied notes are played accurately. Pay attention to the ends of notes when breathing in the middle of long phrases - try not to chop the note before the breath short with an abrupt ending. Practice this etude slowly and with a metronome to focus on intonation and note accuracy, articulation markings, and rhythm placement.

Because of the key and the accidentals, pay special attention to tuning in this etude. In particular make sure to tune chromatic lines, and especially areas when using the valve (like in measures 3 and 5). In m. 7 the D-naturals above the staff may be played in a lowered 4th position. For all B-naturals in the staff that are played using the valve, be sure to play them in a slightly lowered 2nd position. The same adjustment goes for the E-natural at the end of the etude. The F-sharps above the staff will need to be played in a raised 3rd position and the G-naturals above the staff will need to be played in a raised 2nd position.

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Bass Trombone Selection 1

Etude Title: Allegro
Page(s): 23
Tempo: Eighth Note = 172–188

Play from beginning to end.

Errata:
none

Performance Guide:
This 5/8 Allegro is in a 3+2 feel throughout, but all eighth notes must be felt to achieve rhythmic integrity. Giving a slight emphasis to the 1st and 4th beat of each measure will give this a light, dancing feel. Special care should be given to the breaths, particularly that they help promote a steady pulse. For example: the figure where a 16th note follows a dotted 8th note. If a breath is made after the dotted eighth without subdivision, the 16th note is often “crushed” to stay in time.

Dynamics should be added throughout the piece to enhance the musical lines.

Coordinating the slide/tongue/valves can present a challenge at this quick tempo. Practicing the A major and f# minor scales the full range of the etude, is an excellent drill, particularly where the valves are employed.

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Bass Trombone Selection 2

Etude Title: Lento
Page(s): 35
Tempo: Quarter Note = 60–72

Play from beginning to end.

Errata:
none

Performance Guide:
This beautiful piece allows many opportunities to demonstrate your lyrical phrasing, through rubato and dynamic contrast. Espressivo is the Italian term that translates to “expressive”. This music should convey emotion to your audience, the same way an opera singer would sing a beautiful aria.

There are many sequences in this etude. A sequence is a musical idea or motif that is repeated at a different pitch level. These are wonderful opportunities to gently move forward or pull back the tempo, crescendo or decrescendo, or even some of both. With this rubato, be sure that there is always a pulse to the music. Whilst not necessarily metronomic, the pulse should never feel ambiguous or random. Even though some of these sequences are separated by rests, keep the phrase intact by keeping the notes preceding the rests at full value, and not clipped.

Always strive to make your breaths work within the musical phrase. Full breaths between phrases, and when necessary, breaths after longer notes within the phrase. This will help keep momentum in your music.

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Bass Trombone Selection 3

Etude Title: Tempo di marcia
Page(s): 30
Tempo: Quarter Note = 92–104

Play from beginning to end.

Errata:
none

Performance Guide:
This etude is in a strong, march-style two-beat feel. However, Russian marches of Blazhevich’s era were traditionally a slower tempo than the American marches we hear so often. Energico is the Italian term meaning “energetic” or “forceful”. Weight should be felt on the downbeats, with beat one slightly stronger than beat two. Upbeats are lighter, but still played with a full sound. Separate 8th notes, with clearly articulated 16th notes will deliver the appropriate style.

The limited, printed dynamics call for full volume, but it is encouraged to use a full dynamic range to create contrast within the musical lines.

Practicing the c minor and Eb major scales, the full range of the etude, is an excellent drill to work on tone and consistent articulations, particularly at these louder volumes.

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Euphonium Selection 1

Etude Title: Db Major - Con moto
Page(s): 23
Tempo: Quarter Note = 96–108

Play from Beginning to end.

Errata:
all eighth-notes in m. 35-38 should be marked tenuto similar to m. 5-8

Performance Guide:
Throughout the D-flat Major etude, there are a variety of styles and articulations that should have clear and distinct differences in character. All notes without a written articulation marking can be considered a default style of articulation but with a body of sound that is never short. When practicing, especially in the early stages of learning the etude, it is important to play these notes at full value and with your best sound. As you increase tempo, always make sure to keep a light articulation and every note has the same beauty of sound and effortlessness of articulation. Notes with tenuto markings should be played full value with a defined front to the articulation, while staccato notes should be played in a leggiero (light, graceful) manner.

The etude is marked "con moto" (with motion), so it is important to keep the musical line always moving forward with a clear sense of phrasing. This can be done in a variety of ways - using energy/direction within a phrase, 8th notes acting as "pickup" notes into the next bar, beat 3 leading to 1, or adding musical interest in repeated rhythms or sequences. There should be a general sense of playfulness throughout the etude. This style can be achieved by adding a slight lift on the end of slurred notes, keeping the low articulated lines light and buoyant, rhythmic accuracy in tied notes, and having all accented notes consistent in approach. Strive to make all technique in the softer dynamics speak with clarity, resonance, and energy despite the soft nature of the line. When practicing, work on creating a seamless transition for the D.C. al coda so that you are familiar with the "road map" of the piece in a performance setting.

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Euphonium Selection 2

Etude Title: G Minor - Lento
Page(s): 4
Tempo: Quarter Note = 60–72

Play from Beginning to end .

Errata:
None

Performance Guide:
Marked "dolce e sostenuto", this etude is to be performed in a slower tempo and sustained style throughout while keeping a steady quarter note pulse. All note lengths should be considered full value and connected regardless of articulation marking. Even though there is an implied "sweetness" in melodic lines, Blazhevich leaves much room for drama and expression with the varying dynamics and singing-like upper range of the euphonium. 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. All phrases, regardless of dynamic markings, should have shape and contour. Dynamics should be obvious but should never interfere with your most vibrant sound and the musical intent of the line. Do your best to make longer phrases despite the slower tempo and keep the music moving forward with the use of tasteful vibrato, moving 8th notes that lead forward, and by giving every long note a purpose. Always be mindful of how you are releasing a note before a breath, as you never want to detract from the overall musical line. Lastly, when practicing, spend time singing the etude for confident phrasing, direction, connection of sound, intervallic relationships, and intonation.

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Euphonium Selection 3

Etude Title: A Major - Maestoso
Page(s): 42
Tempo: Quarter Note 92–112

Play from Beginning to end.

Errata:
Errata: m. 21 - G natural should carry through measure regardless of octave

Performance Guide:
Although considered a technical etude, this piece is marked "Maestoso" to indicate the etude is to be played in a stately and majestic fashion. "Risoluto" tells us the style is to be performed firmly and decisively in regard to accents and clarity of articulation. Overall, strive for the etude to be confident and controlled rather than rushed and frantic, as all 16th notes should feel melodic instead of fast. In order to feel comfortable performing this piece, it is paramount to spend daily practice in the key of A Major. Major scale (2 octaves), scale in thirds, Clarke Studies, and books (such as Patterns & Snippets by Brad Edwards) that package scalar and arpeggiated exercises into musical context would be great places to start.

The challenges of this etude include extended passages that can expose uneven technique, varying rhythmic subdivisions, large intervallic leaps, and several different articulation patterns. When practicing and performing, be sure to only play the beginning as fast as you can play the most challenging parts of this etude. Thoughtful and accurate subdivision of longer notes and less difficult sections will be important to the quality and success of your performance. Over the course of learning and practicing this etude, consider using altered rhythms and removing ties for evenness of technique, modifying octaves for interval accuracy, and taking out slurs to gain control of rhythmic subdivisions. Once you feel comfortable, then add in written articulations and intervals. Be sure to pay close attention to the rhythm in m. 28-29 (line 9), as the 16th note grouping takes place on the fourth 16th note subdivision of each beat, rather than on the upbeat as many would expect. All grace notes should be played before the beat in a light and sophisticated manner. As you get closer to performance tempo, think of the staccato notes as “light and separated” rather than "short" to create your best sound and a consistent style.

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Tuba Selection 1

Etude Title: No. 23
Page(s): 16-17
Tempo: Quarter Note = 88–100

Play from Beginning to End.

Errata:
NA

Performance Guide:
This etude has several technical challenges, but the starting point is keeping the tempo steady. Using a metronome throughout the process of preparing this etude is extremely important. The slur two/tongue two 16th note pattern dominates throughout the music, and it’s important to make sure that this figure is played with a consistent style. Emphasize the contrast of the articulations so they are very apparent to the listener. Also pay close attention to the sound quality of each note ensuring that they sound full regardless of the type of articulation, dynamic, or range. The dynamic contrast provides a great opportunity to make this etude more musical. The “hairpins” in measures 1, 5, and 38 for example should be exaggerated and really thought of as a musical gesture. On the other hand, there are also passages in this etude that are noticeably not marked with a crescendo or diminuendo such as measures 7-11. The phrase changes dynamics three times without the use of a crescendo or diminuendo which creates a “terraced’ effect. This is another impactful approach to highlighting the dynamic contrast. Mm 33-37 can also be an exciting musical passage when the performer maintains a soft dynamic and plays a thoughtful ritardando leading to the fermata in 37. Finally, don’t overlook the last 2 measures when the articulation pattern changes.

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Tuba Selection 2

Etude Title: No. 47
Page(s): 40
Tempo: Quarter note 66–76

Play from Beginning to End, no repeat..

Errata:
NA

Performance Guide:
Kopprasch etude 47 provides an opportunity for the musician to be just as expressive with long notes as with the eighth note passages. Measures 9-16 and 49-52 are both passages that allow the player to be creative in the musical approach. Concentrate on shaping the measures into a musical phrase and try to avoid playing the notes in a way that sounds stagnant. The technical challenge in these passages is making sure that the octaves are in tune, and that the sound quality is consistent when playing these large leaps. Do your best to follow the three major articulations that are printed in the music: slurs which must remain as smooth as possible, staccato with slur marking known as “mezzo staccato” which should be legato tongued, and notes without any markings that should simply be played full value in a way that best serves the music. The written grace notes and turns should also be played as legato as possible. The symbol appearing above the notation in measure 22 is known as a “turn”. A turn is a formula for playing an ornament that incorporates a written note, one note above the written note, and one note below the written note. The turn in measure 22 should be played as A-B-A-G#-A-B and the turn in measure 28 should be played as F-G-F-E-F-D. There are many ways to interpret the rhythmical aspect of playing the turn, but one basic approach is to play these notes as 8th note triplets, with a slight lingering on the first note. It is recommended to prepare the written grace notes in measure 23, 24, and 54 as even 32nds. This can be achieved by changing the Eb quarter in measure 24 to a double dotted quarter followed by two 32nds, changing the C half note in measure 24 to a dotted quarter followed by four 32nds, and the half note C in measure 54 to a double dotted quarter followed by two 32nds. After these figures can be played accurately and smoothly in a steady tempo, it will be easier to add rubato at the discretion of the performer.

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Tuba Selection 3

Etude Title: No. 35
Page(s): 28
Tempo: Quarter Note = 80–92

Play from Beginning to End.

Errata:
NA

Performance Guide:
Great care should be taken to perform etude 35 in a manner that is light, steady, and with consistent articulations. Be careful not to tongue harder as the music changes range or dynamic. It can be very helpful to practice this etude slurred and then use “slurred” air while playing it as written. There are certainly long sections in this etude that ask the musician to play for quite a while without taking a breath. In most cases, this challenge can be managed by taking a fast enough tempo and being mindful of dynamics. However, leaving out the occasional note is perfectly acceptable so long as it doesn’t distract from the music. The exact notes omitted should be at the performer's discretion, but it is recommended not to leave out downbeats.

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Percussion - Snare Selection 1

Etude Title: 24
Page(s): 48-49
Tempo: Quarter Note = 80–84

Play from Beginning to end.

Errata:
None

Performance Guide:
This etude showcases a wide variety of techniques necessary to master during the development of mature snare drum players. Especially notable is the small quote to last year’s TMEA All-State snare etude based on William Schuman’s “Symphony No.3” at the top of page two.

Players must be adept at navigating changing hand pressures within the embellishment figurations. Ensure you can hear every grace note clearly at all dynamic levels. Four-stroke ruffs should have four notes, drags will have three, and so on. The space between notes may need to be closer at lower dynamic levels to sound crisp and clear. To accomplish this, experiment with playing embellishments at various dynamic levels. Keep grace note heights low. Remember that embellishments should decorate a primary note. If played too open, the grace notes sound too much like a rhythm. If played too closed, the grace notes begin to take on a buzz-roll quality.

Extra care must be given during roll releases on both tied and untied rolls. The tendency will be to connect all rolls. Most untied rolls are fairly clear (m.26 and m.31), but one is obscured by a triplet bracket notation (m.6).

Developing a mature sound quality on a buzz roll is something professionals will chase for years. Remember that rolls should breathe and have air in the technique. Pressing too hard into the drumhead will create a harsh and tight sound. To aid the player in achieving this, consider practicing a three-stroke bounce roll. Avoid overplaying the start of forte-piano rolls. Like the grace note comments above, the player may experiment with choosing a slower roll base at low dynamics and a faster roll base when playing louder.

Lastly, fostering an accurate internal time-keeping solution will help keep the player grounded when changing between the macro or micro-pulse. At times, this etude is better suited to thinking in 8th notes rather than the marked quarter note. At the initial stages of learning, I encourage players to write in landmark stickings in tricky passages, i.e. m.3, mm.17-19, mm.21-22, etc. This will help build confidence when rhythms naturally end on the weaker hands.

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Percussion - Keyboard (2 Mallet) Selection 1

Etude Title: Allegro from Sonata V
Page(s): 82-83
Tempo: Eighth Note = 156–164

Play from Beginning to End.

Errata:
Do not take repeats.
m.48 – roll all notes, but do not connect them. Separate the rolls.
m.50, bb.2-3 – roll the last two 8th notes with separation. Do not connect.

Performance Guide:
This etude is the fourth movement (Allegro) from George Frederic Handel’s Violin Sonata No.5 in A-Major, op.1-14. Everyone is encouraged to listen to several recordings by non-percussionists to assist with developing the musicianship beyond what is written on the page.

Choosing an appropriate mallet is crucial to a successful performance. The mallet must provide clarity to the faster lines without sounding harsh in the low octave jumps indicative of music from this era. This movement covers just over two octaves on the marimba with a few notes crossing below middle-C. When the music starts moving towards A3, stay open in the hand to help provide warmth to the tone. While the style is light, strive to connect all notes in the upper register.

Execute the trills by starting on the diatonic note above the printed note. For example, the trill in m.24 should begin on an E-natural and alternate with D-sharp.

Rolls that are marked with two notes should not start as a double-stop attack, i.e. m.25, m.27, and m.46. Start these rolls on the upper note.

The passages in mm.43-45 and mm.54-56 present their own challenges. In mm.43-45, the right hand demand increases, while the left hand takes over the high demand in mm.54-56. Regardless, focus on accuracy of notes and playing zones. I recommend playing just off center of the bar between the naturals and accidentals for both of these passages to ensure an even sound quality. The player may experiment with keeping the feet planted and slightly rotating the body to assist with accuracy.

Music from this era retains a certain style that can only be learned by repeated listening to performances from numerous sources. Avoid beginning trills the same way a roll may be approached. The two-note trill benefit by starting a bit more open on the first few notes and gradually increasing the hand speed. By the end of a trill, the player may only strike the bars 5-6 times depending on the tempo.

Avoid overly emphasizing the written accents. In this case, accents lend weight to the sound and should not be approached by squeezing the hand or too extreme of a height difference.

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Percussion - Keyboard (4 Mallet) Selection 1

Etude Title: La Cancion
Page(s): 48-51
Tempo: Quarter note 84–152

Play from Beginning to End.

Errata:
m.1 - "mp" dynamic, instead of "mf"
m.3 –Add a descrescendo in the last two beats
m.4 – add a “mp” dynamic and a decrescendo to “niente”
m.5 – change the first dynamic to “mp” and the repeat dynamic to “mf”
m.9 – first time, add a crescendo on bb.1-2 to “mf” on b.3. Second time, crescendo to “f” on b.3
Do not play a repeat of mm. 25-30, but rather, play the second ending after m. 28
m.31-34 – add a crescendo
m.35 – add a “f” dynamic. Add a decrescendo on beats 3-4
m.36 – add a “mf” dynamic on b.1. Remove the crescendo and add a decrescendo to “mp” placed at the end of measure.
Do not play a repeat of mm.37-41
m.40 – b.3 add in a decrescendo on beats 3-4
m.41 – change dynamic to “mp.”

Tempos
Beginning through measure 4 is marked freely/libero
m.5–12 quarter-note = 96-104
m.7 – second time only, add a “ritenuto” on b.2, then accelerando back to marked tempo by m.9, b.1.
m.13–31 quarter-note = 144–152
m.31–34 – poco ritard to quarter note = 84-88 by m.35
m.37 quarter-note = 84-88
m.39 add a “ritenuto” on b.2, then accelerando to 104 bpm by m.40, b.3.
m.42-51 quarter-note = 96-104
m.54 quarter-note = 96-104

Performance Guide:
“La Cancion,” which translates to “The Song,” is an expressive four-mallet solo that showcases several opportunities to highlight the individual musician. Julie Davila provides various warm-up exercises and technique builders prior to the solo. It may be worthwhile to spend time maximizing the technique she includes on pp.44-47.

The solo is marked quickly at times. It is essential to stay relaxed and focus on producing a full, dark sound at all times. This is especially the case in the final measure when marked fortissimo. Avoid overplaying any dynamic. Aim to produce a full and controlled sound at all dynamic levels.

Look for opportunities to add in shaping beyond what is marked on the page. For example, the opening statement and mm.43-53 are left dynamically open for interpretation and need more input from the performer.

The most challenging technical aspect of this solo is the fast double lateral permutations that proceed directly to a repeated single independent stroke. Place the double laterals carefully in time and avoid rushing the triplet rhythm.

Stickings are always a personal choice and left up to the performer. Choose stickings that enhance accuracy, feel appropriate, and produces the best tone. For instance, I prefer sticking the phrase that starts at m.13 with 1-3-2-4-2-3 (low to high) rather than with triple lateral strokes.

The added subito slow down (ritenuto) in measures 7 and 39 will pose a challenge to those who are not accustomed to romanticized musical phrasing. The sudden shift in music quickly returns to the original tempo. Refer to the included performance video for more detail on how to approach this.

Mallet choices should reflect a warm and dark approach. Avoid very hard mallets. A medium, medium-soft, or graduated set of mallets are appropriate to play this piece.

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Percussion - Timpani Selection 1

Etude Title: Etude #13
Page(s): 34-36
Tempo: Eighth Note = 150–160

Play from Beginning to 93, b.2.

Errata:
m.11 - Crescendo on beat 3 instead of decrescendo

Performance Guide:
This etude is heavily influenced by Edgard Varèse, the composer credited with writing one of the first percussion ensembles named “Ionisation.” The motive that starts at m.8 is well-known among percussionists and directly lifted from the ensemble’s opening snare drum melody.

The rhythmic demand upon the player is high. When playing the dense rhythmic language in this etude, remember to be articulate and precise. Strive to maintain the precision through carefully counting the eighth-note micro pulse.

The pacing is much longer than typically found in etudes. Players should observe the first true forte is not given until m.77. As such, refrain from playing too loudly in the mezzo-forte dynamics. Focus on full and resonant tone at all volumes. As Orfaly writes at the top of this etude, approach this performance with a lighter touch. This is especially important during rhythmically active phrases.

The sforzando found in m.9 should be played relative to the surrounding piano dynamics. Avoid smacking this too loudly. Additionally, muting this note too quickly will not give the drum time to fully resonate.

Experiment with the timing of grace note figurations in mm.8-10 to find what works best to emulate the snare drum rhythmic melody. Timpani grace notes are typically played slightly more open but this etude may require a tighter grace note.

Intonation is a critical part of playing a non-fixed pitch instrument. Consider learning this solo first on a marimba to assist in learning the correct pitches. Building confidence in ear training is crucial for consistent repetitions while performing. While tuning gauges are helpful in high-demand parts, they are only useful when timpani have acclimated to a room’s atmosphere and the gauges are set immediately before a performance.

There are few opportunities for dampening notes in this etude. Ideal moments to dampen may include on written rests or following sudden changes from loud to soft. However, be mindful not to overly dampen. Clear all sound from the drums during long multi-measure rests to avoid an audible change of pitch.

Finally, mallet choice should factor the need for articulation and precision at low dynamic levels without sounding harsh at high dynamic levels. Use a hard or ultra-hard felt mallet that still retains a full, dark tone at louder volumes. Avoid using a hard, compacted felt or wood mallet as these will make rolling smoothly more difficult.