Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment
Item Type text; Electronic Dissertation
Authors Puzzo, Richard D., Jr.
Publisher The University of Arizona.
Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Download date 08/10/2021 18:57:28
Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT
By
Richard David Puzzo, Jr
Copyright © Richard Puzzo, Jr. 2017
A Document Submitted to the Faculty of the
FRED FOX SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE
As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts.
______Date: December 7, 2016 Norman Weinberg
______Date: December 7, 2016 Edward Reid
______Date: December 7, 2016 Moisés Paiewonsky
Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
______Date: December 7, 2016 Document Director: Norman Weinberg
2 STATEMENT BY AUTHOR
This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.
SIGNED: Richard David Puzzo, Jr.
3 ACKNOWLEDGEMENTS
I would like to thank my faculty advisor and document director, Dr. Norman Weinberg, for his continued support, advice, patience, and trust throughout this project and degree program. In addition, I am also grateful for the support from Prof. Edward Reid and Prof. Moisés Paiewonsky who served on my major advisory committee throughout my time at the University of Arizona, as well as Dr. Shelly Cooper and Dr. Donald Hamann for their participation as members of my minor committee.
Further appreciation to the following performers and teachers: Dr. R. Richard MacDonald – for granting permission to use selections from his doctoral dissertation “A Pedagogy for Ten Standard Orchestral Percussion Excerpts.” Many of these are found in the resources section of the retrieval system. Raynor Carroll, Shaun Tilberg, William James, and Lee Vinson – who all granted permission and concurred with the use of their published material in the retrieval system I wish to acknowledge the publishers who granted copyright reprint permission so that I could include an image of the notation of the percussion excerpts in the retrieval system: Universal Edition, Editions Durand, Boosey & Hawkes, and the Music Sales Group representing American Music Publishers and G. Schirmer. These endeavors are nearly impossible without the support of family and good friends: Kyle Maxwell-Doherty – who reviewed several versions of my proposal and put up with numerous texts and emails. He made outstanding observations. Dr. Alex Wier -- for testing the retrieval system and providing excellent feedback. Svet Stoyanov – who helped me prepare my audition to the University of Arizona and was an excellent teacher for me. Michael and Christine Massimi – for their strength and support. And especially my wife, Jeanette, and children, Stephen, Abigail and Madeline – for their emotional and inspirational support.
4 TABLE OF CONTENTS
LIST OF FIGURES AND TABLES ...... 7
ABSTRACT ...... 8
CHAPTER 1: INTRODUCTION ...... 9 Intent and Scope ...... 9
CHAPTER 2: REVIEW OF SCHOLARLY LITERATURE ...... 13
Orchestral percussion excerpt audition lists ...... 13 Audition Preparation Articles ...... 16 Orchestral Percussion Excerpts Not Just for Auditions ...... 17 Review of Performance Analyses of Orchestral Percussion Excerpts ...... 19 Justification for an Orchestral Percussion Excerpt Retrieval ...... 21 Review of Adaptions of Kodály Method for Instruments...... 24 Educational Philosophy ...... 25
CHAPTER 3: SURVEY OF AUDITIONS ...... 28
Excerpt Identification Criteria ...... 30 Results ...... 31
CHAPTER 4: BUILDING THE RETRIEVAL SYSTEM ...... 32 Music Retrieval Systems ...... 32 Kodály and Music Education Principles ...... 33 Analysis Criteria ...... 36 Keyword/Criteria Attributes Defined ...... 40 Selected Excerpts ...... 40
CHAPTER 5: CONCLUSION ...... 44
5 TABLE OF CONTENTS - Continued
APPENDIX A: LIST OF 129 MAIN TITLES ...... 46
APPENDIX B: LIST OF WORKS REQUESTED IN THEIR ENTIRETY ...... 50
APPENDIX C: COPYRIGHT PERMISSION LETTERS ...... 54
APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX ...... 62
APPENDIX E: PRINTOUT OF RETRIEVAL SYSTEM AND RELATED DOCUMENTS ...... 76
REFERENCES ...... 254
6 LIST OF FIGURES AND TABLES
FIGURE 1: RUBRIC FOR CHICAGO SYMPHONY PERCUSSION AUDITION ...... 14
FIGURE 2: REPERTOIRE AND METHOD BOOK CROSS REFERENCE ...... 15
FIGURE 3: SAMPLE SONG ANALYZED FOR A RETRIEVAL SYSTEM ...... 38
FIGURE 4: EXAMPLE OF CRITERIA TEMPLATE FOR KODÁLY MUSIC RETRIEVAL SYSTEMS ...... 39
TABLE 1: LIST OF THIRTY-FIVE AUDITIONS ...... 29
TABLE 2: LIST OF SCHEHERAZADE OCCURRENCES ...... 30
TABLE 3: LIST OF SELECTED EXCERPTS FOR RETRIEVAL SYSTEM ...... 41
7 ABSTRACT
Teachers and performers have advocated the study of orchestral excerpts for many decades. There are articles, dissertations, reference books, and method books that provide annotated and edited excerpts for use by students.
It is well known that obtaining the actual music to the excerpt for practice or to prioritize which excerpts may be asked on an audition can be a difficult and daunting task. Playing orchestral excerpts can seem complicated. Students and teachers may not know what excerpts to play or on which to start.
This research has produced an a collection of a wide variety of orchestral percussion excerpts collected that are analyzed in the style of Kodály song retrieval systems commonly used by general music education teachers around the world. The Orchestral Percussion Excerpt
Retrieval System presented in this document contains 100 excerpts and combines features of the excerpts (keywords that describe the excerpts and are searchable), recommended recordings and internet links, average tempi, and practice suggestions that involve a reference, link to a source, or document. The printed version also includes an index.
Use of a retrieval system allows teachers the flexibility to select appropriate music that supports the concepts and objectives of music lessons within a sequenced curriculum. Adaptation to the study of orchestral percussion excerpts could involve sight-reading, playing and singing simultaneously, and musical/technical interpretation. It challenges the students to think critically, listen intently, and encourages a style of practice that involves self-reflection. Use of this retrieval system can aid in the development of music literacy and music enrichment by encouraging both the practice of and listening to historically great works of music.
8 CHAPTER 1:
INTRODUCTION
Teachers and performers have advocated the study of orchestral excerpts for many decades. There are articles, dissertations, reference books, and method books that provide annotated and edited excerpts for use by students. Most of these are designed for the purpose of winning auditions.
It is well known that obtaining the actual music to the excerpt for practice or to prioritize which excerpts may be asked on an audition can be a difficult and daunting task. Playing orchestral excerpts can seem complicated. Students and teachers may not know what excerpts to play or on which to start. Many band and orchestra directors, whose primary instrument is not percussion, most likely know what pieces are common on their instruments and what pieces are regularly performed by orchestras. However, they likely would not know the specifics about percussion excerpts.
Intent and Scope
The intent of this research is to create a collection of a wide variety of orchestral percussion excerpts, the notation to the excerpts when possible, features of the excerpts
(keywords that describe the excerpts and are searchable), recommended recordings and internet links, average tempi, and practice suggestions that involve a reference, link to a source, or document. The data from the collection is stored in a Microsoft Access database. Future projects could include copying the retrieval system into a spreadsheet, export it into an Adobe Portable
Document File (PDF) or publish it via a website. The orchestral percussion excerpt retrieval
9 system is still a valuable knowledge base when exporting to spreadsheet or PDF, but it does lose some functionality.
The style of the user interface is modeled after music retrieval systems that are commonly used in Kodály music education classes. Music retrieval systems have been used in
Kodály based general music and elementary-aged music classes for decades. The concept emphasizes singing folk music from the culture or nationality of the students and is based on a sequence of lessons that build incrementally to gain skills in sight-singing, aural audiation1,
reading, and creating. Use of a retrieval system allows teachers the flexibility to select
appropriate music that supports the concepts and objectives of music lessons within a sequenced
curriculum. Adaptation to the study of orchestral percussion excerpts could involve sight-
reading, playing and singing simultaneously, and musical/technical interpretation. It challenges
the students to think critically, listen intently, and encourages a style of practice that involves
self-reflection. Use of this retrieval system can aid in the development of music literacy and
music enrichment by encouraging both the practice of and listening to historically great works of
music.
An orchestral percussion excerpt retrieval system based on a Kodály style retrieval
system is grounded in education theory and could be used to support and reinforce a music
teacher’s existing curriculum. This version of the orchestral percussion excerpt retrieval system
is targeted to the intermediate or more advanced (high school and above) player. Undergraduate
college-aged music students could also benefit from this system as they work to build skills and
1. Audiation is a music theory concept developed by Edwin Gordon (http://giml.org/mlt/audiation/). Audiation refers to the cognitive process that occurs when we can hear and comprehend music internally. According to the Gordon Institute for Music Learning, audiation in music is similar to thinking in language.
10 knowledge. At the college level, much of the music found in this retrieval system would be discussed in undergraduate music history classes and can provide for transfer between learning the history and performing this great music.
There are a number of books, articles and dissertations that include detailed sections describing the history, construction, or sound properties of percussion instruments. My project will reference this information but will not duplicate it. The current project will focus on obtaining the list of excerpts, annotating the excerpts, and building a collection to display each excerpt with related information on a single page.
Orchestral percussion excerpts can be collected and made available in a music retrieval system that would provide teachers and students with access to high quality music that expands musical knowledge, is grounded in educational learning theories, and supportive of a student- centered sequence of music concepts.
The benefits include the following:
1. Promoting the study of orchestral excerpts as a component in the growth of
knowledge, technique, and musicianship, and not just for preparing to take auditions.
2. One of the benefits of practicing orchestral excerpts is that technical and musical
skills can be improved while playing great works of music rather than technical
exercises as a part of a grid or other practice device.
11 3. Assisting teachers and students in structuring and prioritizing excerpt study within
each percussion instrument family (i.e., snare drum, keyboard percussion, cymbals,
bass drum, etc.). Using a retrieval system can support an existing music curriculum.
4. Assisting teachers and students in creating realistic and/or appropriate mock audition
excerpt lists.
12 CHAPTER 2: REVIEW OF THE SCHOLARLY LITERATURE
An examination of the articles archived by the Percussive Arts Society revealed that as early as 1966, performers and teachers have published articles promoting the benefits of studying orchestral excerpts, what excerpts to study, how to practice the excerpts, and how to build skills in taking auditions. This examination provided insight into the rich history of orchestral percussion auditions since the 1960’s and highlights some of the significant works of music that remain staples of the orchestral literature.
Orchestral Percussion Excerpt Audition Lists
In 1967, Gordon Peters, Principal Percussionist and Assistant Timpanist with the Chicago
Symphony Orchestra from 1959 to 2001, published the audition list for an upcoming Chicago
Symphony audition2. The article included the advertised excerpt list, the excerpts that were actually requested of the players during each round of the audition, and a performance-evaluation rubric (Figure 1) for the auditioners.
2. Gordon Peters, “Chicago Symphony Orchestra Percussion Auditions,” Percussionist 4, no. 4, (May 1967): 202-204, accessed August 22, 2016, http://publications.pas.org/Archive/complete/may67/may67.pdf.
13 Figure 1. Rubric for Chicago Symphony Percussion Audition (Partial). Source: Gordon Peters, “Chicago Symphony Orchestra Percussion Auditions,” Percussionist 4, no. 4 (May 1967).
More than ten years later, in 1979, Snider published a guide (Figure 2) that listed method and repertoire books that included the actual percussion parts for orchestral excerpts. Snyder’s guide cross-references the data by listing the excerpts identified with the page number of the method or repertoire book. Many of the repertoire and method books included in Snider’s list are still commonly used today, but as discussed earlier, many new method books and repertoire books have been developed.3 In 1999, Weiner (Cincinnati Symphony from 1963-2011) published a list of the orchestral excerpts on the audition repertoire for auditions from 1988 to 1999 for the following orchestras: Boston, 1990; Chicago, 1997; Cleveland, 1988 & 1991; Los Angeles,
3. Robert Snider, “A Guide to Percussion Excerpts,” Percussionist 16, no. 3, (Spring/Summer 1979): 153-176, accessed August 22, 2016, http://publications.pas.org/Archive/complete/ressprsum79/ressprsum79.pdf.
14 Figure 2. Repertoire and method book cross reference. Source: Robert Snider, “A Guide to Percussion Excerpts,” Percussionist 16, no. 3, (Spring/Summer 1979): 153-176).
1993; Minnesota, 1997 & 1999; New York, 1991 & 1997; Philadelphia, 1998-99; Pittsburgh,
1989 & 1997; and San Francisco, 1991.4 In his article, Weiner advised that “Identifying the probable repertoire for an audition is the first of many steps necessary to accomplish the goal of engagement in a symphony orchestra.” He cautioned readers that these lists should not be considered fixed and that audition repertoire can change over time.5 During this current research, no new lists of most common orchestral percussion excerpts has been discovered since 1999, which prompted this author to provide an updated list.
4. Richard Weiner, “Symphony Percussion Audition Repertoire,” Percussion Notes 37, no. 4 (August 1999): 17-19, accessed August 22, 2016, http://publications.pas.org/archive/Aug99/Articles/99.08.17-19.pdf.
5. Ibid.
15 Audition Preparation Articles
In 1984, Donald Bick shared his reflections on auditioning experiences and provided
helpful advice on audition preparation in his article, “So You Want to be an Orchestral
Percussionist.” He believed “thorough preparation and a broad knowledge of the orchestral
repertoire are essential for winning a symphony orchestra audition.” He offered realistic practice
goals, such as tempo and dynamic control, pitch and rhythmic accuracy, and performance control
under the pressure of the audition. Bick’s article also included an appendix that lists the most
common excerpts.6 In February 1986, Stacy Loggins shared his auditioning experience.7 His
article was broad in that it discussed the auditioning process and practicing the music on the
audition list. Loggins’ described the nuances between an ensemble audition and a college
entrance audition. He also advised players to obtain recordings of the excerpts and of the
ensemble holding the audition when possible. Loggins includes good advice for handling or
coping with nerves during the audition. Denov (1999), Hollenbeck (2002), and Howard (2003)
published articles that addressed auditioning skills and developing musicianship through
excerpts. Denov’s article added an interesting history of the development of orchestral auditions.
Will James’ article, “Auditions: Looking Beyond the Notes” (2010), discusses aspects of musical
and practical preparation for auditions. James, Principal Percussionist with the St. Louis
Symphony, also advocates the use of playing along with recordings to help get a sense of
6. Donald Bick, “So You Want to be an Orchestral Percussionist,” Percussive Notes 22, no. 2 (January 1984): 28-32, accessed August 22, 2016, http://publications.pas.org/archive/8401/articles/8401.28-30.pdf. 7. Stacy Loggins, “The Nuts and Bolts of Auditioning,” Percussive Notes 34, no. 1 (February 1996): 45-47, accessed August 22, 2016, http://publications.pas.org/archive/feb96/articles/9602.45-47.pdf.
16 character and “…help you learn how to convincingly pace these tempo and dynamic changes.”8
In 2012, Lee Vinson published an article that suggested that auditioners prepare for the unexpected in an audition. Among many others, his advice included knowing the entire works and not just the excerpts on the audition list, practicing on different instruments, and in rooms that are too cold or too hot. His concluding advice? “Preparing yourself for as many curve balls as possible ahead of time will lead to a more comfortable, and hopefully a more successful, audition experience.”9
University-level percussion studios offer a variety of atmospheres and musical emphases.
Some include orchestral excerpts as an integral aspect, but for others, development of more well- rounded musicianship is stressed. Is the study of orchestral excerpts exclusively for those who are taking auditions? Should the study of orchestral excerpts be only for those pursuing an orchestra position? Studying and playing orchestral percussion excerpts should not be only for those musicians interested in winning a position with an orchestra. Orchestral music should be available to and encouraged for all musicians.
Orchestral Percussion Excerpts Not Just for Auditions
As previously stated, there is a wealth of information on how to win auditions. The goal of this retrieval system is not primarily to train players to win auditions in orchestras, but to
8. William James, “Auditions: Looking Beyond the Notes,” Percussive Notes 48, no. 5 (September 2010): 24-25, accessed August 22, 2016, http://publications.pas.org/archive/Sept10/1009.40-41.pdf.
9. Lee Vinson, “Dodging the ‘Curve Ball’ at Orchestra Auditions,” Percussive Notes 50, no. 2 (March 2012): 38, accessed August 22, 2016, http://publications.pas.org/archive/Mar2012/1203.38-39.pdf.
17 encourage the study of orchestral percussion excerpts to help develop personal musicianship, skills, and knowledge, and develop an appreciation for great works of music. According to
Michael Rosen, the study of orchestral excerpts “can be an efficient way to study technique, memorization, concentration, taste, mallet choice, and perhaps the most important thing: how to learn, which differs with each student.”10 He extends this idea to recommend that orchestral excerpt study should be approached as music and not just “licks to be perfected and played in a mechanical way.”11 Anthony Cirone, in an interview with Jon Wacker, stated that the study of excerpts has long been recognized as a valid method of teaching musical sensitivity, performance techniques, and an awareness of standard orchestral literature.12 In addition to developing musicianship, John R. Beck noted that formal auditions are not the only way to pursue music performance possibilities and added that players should assume they are being evaluated even if there is no formal audition.13 Practicing orchestral excerpts can help players hired as a substitute because they may already know the music that they are being hired to play. This can boost confidence during the rehearsals, help you play “beyond the notes,” and make your performance be noticed in an exemplary fashion.
10. Michael M. Rosen, “An Innovative Approach to the Study of Orchestral Excerpts,” Percussive Notes 41, no. 2 (April 2003): 66-71, accessed August 22, 2016, http://publications.pas.org/archive/apr03/articles/0304.66-71.pdf.
11. Ibid.
12. Jon Wacker, “Interpretation of Orchestral Percussion Parts, The Professional Viewpoint: Anthony Cirone,” Percussive Notes 34, no. 6 (December 1996): 54-59, accessed August 22, 2016, http://publications.pas.org/archive/dec96/articles/9612.54-59.pdf. 13. John R. Beck, “Non-Orchestral Auditions," Percussive Notes 37, no. 4 (August 1999): 10-12, accessed August 22, 2016, http://publications.pas.org/archive/Aug99/Articles/99.08.10-12.pdf.
18 Review of Performance Analyses of Orchestral Percussion Excerpts
In 1983, Emery Eugene Alford published his DMA dissertation entitled, “Identification
of Percussion Performance Techniques in The Standard Orchestral Percussion Repertoire.”14 In
his extensive 640-page study, Alford conducted a survey of current orchestral percussion repertoire lists and methods, and he contacted orchestras to obtain the excerpts requested on their most recent audition. The twenty-seven audition repertoire lists he received provided the basis for the excerpts he was to discuss in his research. He then ordered the list of excerpts by instrument and frequency and produced an anthology of forty-one of the most common excerpts.
This is a similar procedure conducted on the current research with the result being an updated list of excerpts by instrument and frequency from the years 2000 through 2015. As expected, there are many of the same works of music on both lists. Alford produced detailed tables depicting the audition data various ways such as:
A list of the frequency of an excerpt for each instrument
The top five most requested compositions and the number of orchestras requesting them
A master list of orchestral percussion repertoire
A standard list of orchestral percussion repertoire
Alford’s research provides a historical background of each of the main orchestral percussion instruments and includes detailed information on general playing techniques and
14. Eugene Alford, “Identification of Percussion Performance Techniques in the Standard Orchestral Percussion Repertoire” (DMA Diss., University of Oklahoma, 1983), accessed August 16, 2016, ProQuest Theses and Dissertations.
19 unique performance problems associated with each of the main instruments in the percussion
family. He then discusses the specific techniques required and performance difficulties for each
of the top five excerpts for each instrument. This dissertation still provides some relevant
information for percussionists wishing to study orchestral percussion excerpts. It is an excellent
complement to the orchestral percussion excerpt retrieval system produced during this current
research.
In 2000, R. Richard MacDonald published his dissertation, “A Pedagogy for Ten
Standard Orchestral Percussion Excerpts.”15 This research includes interviews with orchestral
percussionists who relate their interpretations, hand-to-hand patterns, style, and anecdotes to give a real life application to the excerpts. To establish the basis for a sequence of instruction, he uses five perspectives: (1) use of audio recordings, (2) study of the original percussion part, (3) score study, (4) study of published resources, such as method books, reference books, and articles, and
(5) results of interviews with ten percussion professionals from major orchestras. MacDonald selected two excerpts from five percussion areas: snare drum, bass drum, cymbals, glockenspiel, and xylophone. The document also provides copies of the entire percussion part for each of the ten pieces of music. Many of the parts include edits supplied by the percussion professionals interviewed. These provide guidance for young percussionists who are exploring orchestral percussion excerpts for the first time. This research is an excellent complement to the orchestral percussion excerpt retrieval system produced during this research. Several annotated and edited excerpts are referenced in the retrieval system.
15. R. Richard MacDonald, “A Pedagogy for Ten Standard Orchestral Percussion Excerpts” (DMA diss., University of Northern Colorado, 2000), accessed August 16, 2016, ProQuest Dissertations and Theses Global.
20 Justification for an Orchestral Percussion Excerpt Retrieval System
A music retrieval system based on Kodály principles puts several pieces of information
into a single source. There are many excellent sources available today: method books,
interpretation books, reference books, websites, dissertations, and articles that identify a
particular unique characteristic or technique regarding the study of orchestral excerpts. Most of
these state their objective of winning auditions and/or focus on a singular aspect. They all present
excellent resources for the percussionist and several are presented here and also referenced in the
retrieval system.
Rob Knopper, Percussionist for the Metropolitan Opera, maintains a website and blog at
http://www.robknopper.com/start-here/ where he explains his experiences and approach to
practicing excerpts and preparing for auditions.
Shaun Tilberg, Principal Percussionist with the Phoenix Symphony, recently published
his book, The Regimen. This book is a collection of 42 exercises that helps improve technical facility, control and endurance. These exercises transfer directly to many snare drum excerpts from the orchestral repertory and its stated purpose is to prepare players to win auditions.
William James, Principal Percussionist with the St. Louis Symphony, maintains a website and blog where he has discussed a number of important topics to percussionists such as changing a tambourine head, how to take criticism, how to practice when you are stuck, how to travel to an audition, and many, many more. James has published the book The Modern Concert Snare Drum
Roll and offers a series of companion videos and technical exercises.
Lee Vinson, percussionist and clinician, is very active in the Percussive Arts Society as a
two-term member of the orchestral committee and the author of at least nine published articles.
21 He maintains a website at http://www.leevinson.com/ where he offers a series of free technical
exercises tailored to specific orchestral percussion excerpts for the snare drum, crash cymbals,
xylophone, bells, and triangle. The information contained here is valuable resource with many
offerings included in the resources section of the orchestral percussion retrieval system.
Anthony Cirone, in collaboration with other players and teachers, has published several
valuable books involving orchestral percussion music. In his book, On Musical Interpretation in
Percussion Performance: A Study of Notation and Musicianship, he describes his performance
interpretation of forteen major works for band and orchestra. It includes: proper execution of
composers' articulations, translations of foreign musical terms, an examination of percussion
notation, when to muffle and when to sustain, mallet selection, dynamics and phrasing, and
choosing the correct instrument.16 His book, The Logic of it All: Professional Secrets Applying
Imagination to Percussion Techniques, written with Joe Sinai, was published in 1977 and
remains pertinent in today’s performing environment. This book has over ninety photographs of
instruments and playing the instruments, and includes the parts and performance interpretation to
over ten major orchestral works.17
Even with these guides, a teacher wishing to use orchestral excerpts as part of a
curriculum, still has a large task to maintain a comprehensive list of percussion orchestral
excerpts, collect all the actual percussion music for these orchestral excerpts, and gain insight
into interpretation of the excerpts. One approach could include obtaining audition lists and then
collecting the music for study. Several sources for locating music exist. Some orchestras provide
16. Anthony J. Cirone, On Musical Interpretation in Percussion Performance: A Study of Notation and Musicianship (Galesville, MD: Meredith Music Publications, 2008).
17. Anthony J. Cirone, The Logic of it All: Professional Secrets Applying Imagination to Percussion Techniques (Menlo Park, CA: Cirone Publications, 1977).
22 copies of the audition music. The website for the International Music Score Library Project18 is a good resource for music that is in the public domain. Carroll (2000 revised) published a seven
volume series of orchestral percussion music for the various percussion instruments. This series
includes reformatted parts in their entirety and comprise much of the music requested on
auditions. It also includes works that are historically significant for percussion and that are
performed regularly. Some performers and teachers published newly composed audition style
music drawn from orchestral excerpts. In 2006, Daughtry and McClaren published a thirty-five
page volume of newly composed audition music. Targeted to high school level players, a CD
accompanies the book and can provide a progression-tracking guide. It also can be used as
audition material for high school regional and all-state auditions. Aleo (2012) published
Complimentary Percussion, and used all newly-composed etudes for the accessory or
complimentary percussion instruments. Aleo’s intent was to provide students with a solid, more
specific technical foundation that can be applied to playing orchestral excerpts.
The retrieval system that was developed from this research includes the identification,
notation or source to obtain the notation, technical and musical attributes, suggested listening,
and suggested exercises or reference to technical exercises on a single page.
18. The International Music Score Library Project (IMSLP) is a wiki style website and was created based on the belief that music should be something that is easily accessible for everyone. Public domain music scores and individual parts are provided free of charge to anyone who has internet access. Another main goal of IMSLP is to facilitate the exchange of musical ideas and their website includes discussion and forum pages. http://imslp.org.
23 Review of Adaptions of Kodály Method for Instruments
While the Kodály method is most commonly associated with vocal music, it can be adapted for use in instrumental music education. Three examples are presented that illustrate the resourcefulness of the instrumental music instructors who developed a method of study for their respective instruments using Kodály music education principles.
In 1990, Amy Bero completed a dissertation19 that involved the development of a method
of instruction for the Bb clarinet based on aspects of the Kodály system. The study included a
survey of middle school band directors and current methods of the time. Her findings were that
many of the band directors felt that the current methods lacked activities that developed
fundamental skills such as ear training and rhythmic recognition among other deficiencies. Since
Kodály music education principles involve mostly singing, ear training activities, listening, and
in-tune singing as integral and therefore are incorporated in Bero’s clarinet method. Bero devised
ten detailed lessons that incorporate objectives, specific activities, and songs.
Gregory L. Wallace completed a dissertation20 in 1996 that adapted Kodály based
methods for the a 3rd or 4th grade guitar student. The study included a detailed survey of current
guitar methods, a helpful user guide for teachers, and fifteen detailed lessons for the beginning
19. Amy Bero, “The Development of an Instrumental Method Book for Bb Clarinet Using Aspects of the Kodály Method” (master’s thesis, Silver Lake College, 1990), accessed August 9, 2016, ProQuest Dissertations and Theses Global.
20. Gregory L. Wallace, “An Adaptation of Kodály-Based Philosophy and Techniques to the Study of Guitar at the Introductory Level” (master’s thesis, Silver Lake College, 1996), accessed August 9, 2016, ProQuest Dissertations and Theses Global.
24 guitar student. The lessons include songs, narrative instructions, and activities to help the student learn basic musical concepts.
In Karrie Been’s master’s research, she devised a curriculum for group keyboard training
(grade five) based on Kodály principles. She advocated a six-level sequence of learning objectives and provides twenty detailed lessons. Been also included a collection of twelve classic
American folk songs to support her curriculum.21
This research has produced an orchestral percussion excerpt retrieval system containing over ninety-five excerpts. Each excerpt is annotated with basic musical and technical aspects that can provide specific concepts teachers and students wish to explore. This research is also different from previous percussion related research in that the retrieval system is based on
Kodály concepts and principles for teaching music and provides support for curricular and music learning theories. The purpose of my project is to make accessible and available, great orchestral music that is popular in the orchestral community to younger players and teachers who would not normally be able to obtain this music.
Educational Philosophy
Through the criteria that identifies musical and technical attributes of the orchestral percussion excerpts, teachers can select orchestral excerpts based on education theory, concepts supporting an existing curriculum, and the current skill levels of the students. Jerome Bruner’s
21. Karrie R. Been, “Collection of Folk Songs and a Kodály-Based Curriculum for Use in Keyboard Training in the General Music Classroom - Grade 5” (master’s thesis, Silver Lake College, 2000), accessed August 9, 2016, ProQuest Dissertations and Theses Global.
25 educational and curriculum theories have been used by teachers of many subjects since the
1960’s. His theory of cognitive growth emphasizes the readiness of children to learn in stages and can be applied to teaching music. Identified as the spiral curriculum,22 Bruner advocated that basic fundamentals should be repeated, adding new information until the concept is fully understood by the student. Additionally, Bruner’s belief was that if the student finds the material relevant, the learning will be deeper.23 With the help of a More Knowledgeable Other (MKO),24 students can begin exploring the excerpts as intermediate players, then return to them as advanced players using their new knowledge and heightened skills to add detail, nuance, more clarity, increasingly wider dynamic ranges, and more. Over time, new discoveries can be heard and experienced from the same pieces of music. The MKO theory lends itself to understanding the students’ Zone of Proximal Development (ZPD).25 The ZPD is often represented by a series of three concentric circles with a student’s current knowledge in the smallest inner circle. As the circles get bigger, the challenge to the student becomes greater. The idea is that new material should present just the correct amount of challenge to the student that would be in the student’s
Zone of Proximal Development. Kodály music education principles are clearly consistent with established education theory and education psychology. The inclusion of a Kodály modeled
22. Mark K. Smith, “Jerome S. Bruner and the Process of Education,” The Encyclopedia of Informal Education, accessed July 3, 2016, http://infed.org/mobi/jerome-bruner-and-the- process-of-education/.
23. Ibid.
24. The More Knowledge Other (MKO) can be an adult, teacher, peer or even a computer program such as an electronic tutor – anyone, thing or experience that has a higher level ability than the student.
25. Saul A. McLeod, “Lev Vygotsky,” Simply Psychology, last modified 2014, accessed August 12, 2016, http://www.simplypsychology.org/vygotsky.html.
26 music retrieval system can help a teacher provide an appropriate level of musical activity and concept for each lesson. Playing along with a recording, singing a melody in one’s inner ear, or aloud, can make practicing routine techniques more relevant and active.
27 CHAPTER 3: SURVEY OF AUDITIONS
A survey of orchestral percussion auditions between the years 2001 and 2014 was conducted to generate the list of most commonly requested excerpts. During the survey, over 100 auditions were identified from which thirty-five were selected as a sample (Table 1). The survey was conducted using internet searching, and auditions from midsize, part-time and/or semi- professional orchestras to full-time large city orchestras were selected. The primary source for the auditions was www.thepercussionroom.com, but the websites, www.musicalchairs.info and www.johntafoya.com were also helpful. I attempted to select from a wide enough range of orchestras that the resulting audition lists would provide a good representation of common excerpts found on audition lists.
To manage the data collected, a relational database was designed using Microsoft Access that included three tables: 1. Table of Excerpts containing the fields: ID, instrument, composer, main title, movement, measure/rehearsal number.
2. Table of Auditions containing the fields: ID, orchestra, audition date, position.
3. Table of Excerpt Frequency containing the fields: ID, excerpt ID, auditions ID
28 Table 1. List of Thirty-Five Auditions Audition Orchestra Position Year Boston Symphony Orchestra 2012 Section Percussion Canton Symphony Orchestra 2012 Section Percussion Cape Cod Symphony Orchestra 2010 Permanent and Substitute Percussion Charleston Symphony Orchestra 2007 Percussion 2 Colorado Springs Philharmonic Date Unk Percussion 2 Des Moines Metro Opera 2012 Percussion Detroit Symphony Orchestra 2006 Section Percussion Principal and Assistant Principal Detroit Symphony Orchestra 2012 Percussion Evansville Philharmonic Orchestra 2012 Consortium Percussion Ft Wayne Philharmonic 2008 Principal Percussion Helena Symphony Orchestra 2005 Section Percussion Jacksonville Symphony Orchestra 2011 Principal Percussion Kansas City Symphony 2009 Associate Principal Percussion Kwazulu-Natal Philharmonic Orchestra - 2013 Principal Percussion Durbin, S.A. Louisiana Philharmonic Orchestra 2008 Section Percussion Milwaukee Symphony Orchestra 2007 Substitute Percussion Nashville Symphony 2011 Section Percussion National Symphony Orchestra 2012 Principal Percussion North Carolina Symphony 2014 Assistant Principal Percussion Orchestre Philharmonique de Radio France 2013 Second Percussion Oregon Symphony 2010 Percussion Pittsburgh Symphony Orchestra 2008 Associate Principal Percussion San Diego Symphony 2008 Principal Percussion Santa Rosa symphony 2011 Percussion 3 Sarasota Orchestra 2012 Principal Percussion Seoul Philharmonic Orchestra 2007 Associate Principal Percussion Syracuse Symphony 2009 Section Percussion Teatro Massimo, Italy 2015 Percussion Tucson Symphony Orchestra 2012 Percussion 3 Tucson Symphony Orchestra 2014 Percussion 2 Victoria Symphony, Canada 2001 Principal Percussion Washington Metropolitan Philharmonic 2006 Principal Percussion Orchestra West Australian Symphony Orchestra 2013 Principal Percussion Winston-Salem Symphony Orchestra 2007 Extra Percussion Youngstown Symphony 2007 Principal Percussion
29 Excerpt Identification Criteria
Since many excerpts often referred to the specific movement, measure number or rehearsal number/letter reflected on the audition list, each entrance was considered as a distinct excerpt. For example, snare drum excerpts for Scheherazade are listed as eleven distinct excerpts at the measure level in this study. In addition, there are other instrument entrances for the same piece (i.e., cymbals, tambourine, snare drum, and triangle) increasing the frequency of
Scheherazade as a main title. (Table 2). Scheherazade is listed once at the main title level but is recorded once for each instrument (cymbals, snare drum, triangle, and tambourine) for a total of four. At movement/measure level it is listed eighteen times in this study.
Table 2. List of Scheherazade Occurrences
Instrument Composer Main Title Movement Excerpt Cymbal Rimsky-Korsakov Scheherazade 4 entire sCymbals (sus.) Rimsky-Korsakov Scheherazade 4 Reh. K to M Snare Drum Rimsky-Korsakov Scheherazade 4 entire Snare Drum Rimsky-Korsakov Scheherazade 3 entire Snare Drum Rimsky-Korsakov Scheherazade 4 Reh. M/P to U Snare Drum Rimsky-Korsakov Scheherazade 3 Reh. D/F to G/H Snare Drum Rimsky-Korsakov Scheherazade 3 Reh. D to E Snare Drum Rimsky-Korsakov Scheherazade 3 Reh. D to G Snare Drum Rimsky-Korsakov Scheherazade 4 9 before Reh. Q to R Snare Drum Rimsky-Korsakov Scheherazade 4 4 before Reh. M to R Snare Drum Rimsky-Korsakov Scheherazade 3 Reh. G to I Snare Drum Rimsky-Korsakov Scheherazade 4 Reh. W to X Snare Drum Rimsky-Korsakov Scheherazade 4 1 before Reh. C to D Tambourine Rimsky-Korsakov Scheherazade 3 Reh. F to G Tambourine Rimsky-Korsakov Scheherazade 4 Reh. F to G Tambourine Rimsky-Korsakov Scheherazade entire entire Triangle Rimsky-Korsakov Scheherazade 4 9 bars after Reh. W to Allegro Triangle Rimsky-Korsakov Scheherazade entire entire
30 As reflected in Table 2, there are five instances where the auditioning orchestra requested the entire work or movement. This occurred 126 times out of the thirty-five auditions. Appendix
2 reflects the auditions and works requested in their entirety. While this research design intends to analyze each entrance individually, the value of learning the entire piece of music is recognized.
Results
From the thirty-five audition lists, I entered the data into the three data tables. Microsoft
Access has the capability to allow users to combine different fields from different tables to create new views of the data. It allows for structuring the data using mathematical computations such as determining frequency something occurs, or a count. The lists below tend to pertain more directly to helping teachers and players prioritize collections of orchestral excerpts to play.
1. List of 129 orchestral works (main titles) reflected on audition repertoire lists for the thirty-five auditions. (Appendix A).
2. List of 334 distinct entrances from orchestral music in the audition lists. 3. List of the main titles by instrument and number of entrances on the audition lists. 4. List of entrances by instrument ordered by number of entrances. 5. List of 1171 entrances counted from all thirty-five audition lists.
31 CHAPTER 4: BUILDING THE RETRIEVAL SYSTEM
Music Retrieval Systems
Today’s concept of music retrieval systems has grown to include complex software
applications that can return a list of songs based on querying an audio sample, humming, or
tapping a rhythm. Some of the most common retrieval systems are located on our mobile phone
or other device that contains a digital music library such as Windows Media Player or iTunes.
These systems are referred to as Content Based Music Retrieval Systems (CBMR). They “allow
history oriented searching” that is based on user actions on the system, and how users answer
questions posed by the music retrieval system software.26
Cover Song Retrieval (CSR) systems attempt to “differentiate versions of the same song.
Audio files are returned in an ordered fashion from the most similar to the inputted search
criteria.”27 Other researchers have promoted advances to CSR systems using dynamic
programming and by conducting experiments using approximate chord sequences by testing
shifts, gaps and beats.28
26. Pierre-Yves Rolland, “Adaptive User Modeling in a Content-Based Music Retrieval System,” Researchgate Corporation, December 2001, accessed August 12, 2016, https://www.researchgate.net/publication/2397573_Adaptive_User_Modeling_in_a_Content- Based_Music_Retrieval_System.
27. Cynthia C.S. Liem and Alan Hanjalic, “Cover Song Retrieval: A Comparative Study Of System Component Choices” (presentation, 10th International Society for Music Information Retrieval Conference (ISMIR 2009), Kobe, Japan, October 29, 2009), accessed August 22, 2016, ismir2009.ismir.net/proceedings/OS7-6.pdf.
28. D.P.W. Ellis and G.E. Poliner. “Identifying ‘Cover Songs’ with Chroma Features and Dynamic Programming Beat Tracking” (presentation, International Conference on Acoustics, Speech, and Signal Processing (ICASSP), Honolulu, HI, April 2007), accessed August 12, 2016,
32 The retrieval system that I am proposing is based on text searching and the Kodály
concept of music education that exists in the U.S. today. Kodály devoted many years of
collecting and cataloging Hungarian folk songs for use within a sequential music curriculum.
With the advancement in computer technology and in CBMR system applications, future
research in this area could include content (tapping a rhythm or humming a melody) based
searching and historical searching. Historical data could be used to let the student know what
music has been played and when, or selected the most—identifying areas that are being missed
or practice in an area that could be increased.
Kodály and Music Education Principles
“Teach music and singing at school in such a way that it is not a torture but a joy for the pupil; instill a thirst for finer music in him, a thirst which will last for a lifetime.”29 Kodály (1882-1967)
Kodály and Bartók began their close professional relationship in 1905 and together
shared in many music-collecting tours.30 By 1906, they had published their first collection of
https://www.ee.columbia.edu/~dpwe/pubs/EllisP07-coversongs.pdf; Juan Pablo Bello, “Audio- Based Cover Song Retrieval Using Approximate Chord Sequences: Testing Shifts, Gaps, Swaps And Beats,” (presentation, 8th International Society for Music Information Retrieval Conference (ISMIR 2007), Vienna, Austria, September 2007), accessed August 18, 2016, https://drive.google.com/file/d/0B2SQvWn0_78BSEZ2bUJXbF9CSmM/view?pref=2&pli=1.
29. Zoltán Kodály, The Selected Writings of Zoltan Kodály, ed. Ferenc Bónis and Zeneműkiadó Vállalat, trans. Lili Halápy and Fred Macnicol (Budapest: Zrinyi Printing House, 1974).
30. Grove Music Online, Oxford Music Online, s.v. “Zoltán Kodály,” accessed October 25, 2016, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/grove/music/ 15246.
33 twenty songs.31 Kodály advocated the use of folksongs in music education and in the creation of music collections. The folksong collections included an analysis of melodic interval, rhythm, meter and form, and could be used to support a music education curriculum. His model influenced music educators in Hungary and today, Kodály based music programs are found all over the world.32
Many of the education techniques Kodály used were adopted and adapted from other successful methods. It is their use within the context of a philosophy he developed and a sequence of lessons using folksong and art music examples that makes the Kodály concept of music education.33 Kodály based music classes are generally associated with vocal instruction to elementary students, although his approach has been adapted for instruments.
In 1937, A magyar népzene (‘Hungarian Folk Music’) was published. According to Lois
Choksy, the “scholarly analysis of folk songs” in A magyar népzene gained Kodály international attention in ethnomusicology circles.34 The 1982 English language edition included new musical examples selected and drafted by Kodály, himself. Among other features, the collection includes a general explanation of oral and written folk traditions, substantial bibliographies, lists of collectors, notators, localities, syllabic numbers, cadences and rhythmic patterns as well as
31. Lois Choksy, The Kodály Context: Creating the Environment for Musical Learning (New Jersey: Prentice-Hall, 1981), 3-6.
32. Grove Music Online, Oxford Music Online, s.v. “Zoltán Kodály,” accessed October 25, 2016, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/grove/music/ 15246.
33. Ibid.
34. Choksy, The Kodály Context, 3-6.
34 illustrations and maps. At least 100,000 songs were included in the volumes the 1950’s, and research continued until Kodály’s death in 1967.35
The Kodály music education approach is structured on sequential lessons. It builds on students’ previous knowledge and skill, and through the use of a music retrieval system, provides flexibility for the teacher in the selection of music for classes and lessons, and can help to make available music that is normally not accessible to the students.36 Music retrieval systems can be organized or sorted in various ways that make access to the individual selections logical. The orchestral percussion excerpt retrieval system developed in the current research, is organized using several different levels of ordering or sorting. The first level is by instrument, second is the composer, third is the main title of the musical work, fourth is the movement number or title, and the fifth and final level is the rehearsal number of letter that specifically identifies the excerpt.
Below are the basic principles underlying the Kodály concept of music education as delineated by Jean Sinor in her 1986 article “The Ideas of Kodály in America.”
1. Use of the highest quality music;
2. Music for everyone, not only for an elite;
3. Music experiences beginning in early childhood;
4. Initial grounding in the folk style of the culture;
5. An a cappella vocal foundation for music learning;
35. Grove Music Online, Oxford Music Online, s.v. “Zoltán Kodály,” accessed October 25, 2016, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/grove/music/ 15246.
36. “The American Folk Song Collection,” Holy Names University, Kodály Center, accessed August 3, 2016, http://kodaly.hnu.edu/introduction.cfm.
35 6. Literacy as the primary means for musical independence;
7. Use of relative solfege;
8. Experiences before notation; and
9. A child-centered learning sequence.37
Many of these are applicable as principles in the development of an orchestral percussion excerpt retrieval system.
Analysis Criteria
Figures 3 and 4 are examples of retrieval system pages from two American Kodály based education and training schools. They provide the basic formatting and model in the development of criteria that would apply to describing orchestral percussion excerpts. Figure 2 was obtained from the American Folk Song Collection of the Kodály Center at Holy Names University in
Oakland, CA. Their collection contains over 500 songs developed over thirty-five years by students and faculty, and represents music from a wide geographical and cultural spectrum in
America. Each song includes lyrics, a musical score, and song analysis showing how it can be used to develop children’s musical and cultural understanding.”38
Figure 3 is an example of a questionnaire used to build a music retrieval system utilized by the Kodály Music Institute in Massachusetts. The Kodály Music Institute provides training,
37. Jean Sinor, “The Ideas of Kodály in America,” Music Educator's Journal 72, no. 6 (February, 1986): 32-37, accessed August 9, 2016, http://www.jstor.org.ezproxy4.library.arizona.edu/stable/3401274.
38. “The American Folk Song Collection,” Holy Names University, Kodály Center, accessed August 3, 2016, http://kodaly.hnu.edu/song.cfm?id=732.
36 certifications, and degrees in Kodály-based music education and encourages teachers to create their own collections of songs using specific criteria.39
39. “Who We Are.” Kodály Music Institute, accessed December 4, 2016, http://kodalymusicinstitute.org/who-we-are/the-kodaly-concept/.
37
Figure 3. Sample Song Analyzed for a Retrieval System.40
40. “The American Folk Song Collection,” Holy Names University, Kodály Center, accessed August 3, 2016, http://kodaly.hnu.edu/song.cfm?id=732.
38
Figure 4. Example of Criteria Template for Kodály Music Retrieval Systems41
41. “Song Analysis and Retrieval Templates.” Kodály Music Institute, accessed December 4, 2016, http://songretrieval.weebly.com/templates.html.
39 Keyword Criteria/Attributes Defined
From the examples above, the following criteria, that is more specific to orchestral
percussion excerpts, was developed to use in building the retrieval system.
Meter: numeric identification Tempo: the average tempo or range of tempi taken from the three or four recording links provided in the retrieval system. Range: for melodic excerpts, the lowest and highest notes. Middle C will be named C4. Rhythmic: the note value content described with text: qtr note, 8th note, 16th note, etc. Technical: the skills or rudiments required to play the excerpt. Musical: dynamic contrasts, the dynamic level for the majority of the excerpt, abrupt dynamic shifts. Scale: the basic scale used for the excerpt. Keywords would be major, minor, pentatonic, whole tone, etc. Tonality: the key or tonal center of the excerpt if possible to identify. (not the tonal center of the work)
Year: The initial year the musical work was published or performed as reported on the International Music Score Library Project website (www.imslp.org).
Selected Excerpts
The excerpt list in Table 3 displays the excerpts selected to be included in this version of the orchestral percussion excerpt retrieval system. The excerpts are first sorted by instrument alphabetically and then the most commonly requested entrances by frequency. This list combines excerpts from the same work into a single entry on the list, places the largest frequency at the top of the list and then descends to those excerpts requested at least five times.
40 Table 3. List of Selected Excerpts for Retrieval System Bass Drum Ct Composer Main Title Movt 35 Stravinsky Rite of Spring Part I & II 21 Mahler Symphony 3 1 9 Tchaikovsky Symphony 4 4
Bass Drum w/Cym Atch Ct Composer Main Title 13 Stravinsky Petrouchka-1947 version 3 Mahler Symphony 1 2 Sousa Stars and Stripes Forever
Cymbals Ct Composer Main Title Movt 26 Rachmaninoff Piano Concerto 2 3 34 Tchaikovsky Symphony 4 4 29 Tchaikovsky Romeo and Juliet Overture entire 11 Mussorgsky Night on Bald Mountain entire 7 Dvorak Scherzo Capriccioso entire
Glockenspiel Ct Composer Main Title Movt 31 Dukas Sorcerer's Apprentice entire 26 Respighi Pines of Rome 1 entire 23 Mozart Magic Flute entire 21 Debussy Le Mer 2 & 3 11 Tchaikovsky Sleeping Beauty Ballet Waltz
41 Snare Drum Ct Composer Main Title Movt 45 Rimsky-Korsakov Capriccio Espagnole 3, 4, & 5 36 Prokofiev Lt Kijé entire 35 Rimsky-Korsakov Scheherazade 4 27 Rimsky-Korsakov Scheherazade 3 18 Shostakovich Symphony 10 2 17 Ravel Bolero 15 Prokofiev Symphony 5 2 & 4 13 W. Schuman Symphony 3 Toccata 11 Bartok Concerto for Orchestra 2 9 Nielsen Clarinet Concerto
Tambourine Ct Composer Main Title Movt 44 Dvorak Carnival Overture 23 Stravinsky Petrouchka-1947 version 15 Tchaikovsky Nutcracker Ballet Danse Arabe Trepak
13 Bizet Carmen Suite 1 Aragonaise 11 Chabrier España 9 Bizet Carmen Suite 2 Dance Boheme
7 Britten Peter Grimes, Storm Four Sea Interludes
4 Rimsky-Korsakov Scheherazade 3 & 4
2 Berlioz Roman Carnival Overture
42 Triangle Ct Composer Main Title Movt 12 Brahms Symphony 4 3 15 Liszt Piano Concerto 1 6 Dvorak Symphony 9
Xylophone
Ct Composer Main Title Movt 25 Gershwin Porgy and Bess
20 Messiaen Oiseaux exotiques
19 Copland Appalachian Spring
17 Shostakovich The Golden Age Polka
15 Kabalevsky Colas Breugnon Overture
15 Kodály Háry János Suite entire
12 Stravinsky Firebird-1911 version Dance of Kastchei’s Retinue
8 W. Schuman Symphony 3 Toccata
8 Bartok Music for Strings, Percussion and Celeste
43 CHAPTER 5
CONCLUSION
I had hypothesized that at a certain point in the data entry process, the number of orchestral pieces used would stop increasing, and the number of distinct excerpts would likely continue to increase as different orchestras asked for different specific entrances (measure numbers and rehearsal numbers). The thirty-five auditions used in the current discussion disproved my hypothesis, as the number of new pieces increased as the data from audition lists were being entered into the database.
Balanced with the difficulty of the excerpt, the list in Table 3 can provide students and teachers with a priority with which to begin practicing excerpts. The excerpt list reflected in
Table 3 could also be used to create more realistic mock auditions by selecting those excerpts that are asked more frequently. For those wishing to learn more about orchestral music with respect to its use of percussion, Appendix A is the list of 129 main titles and provides a wealth of great and historically important music. As an aspiring college professor, there are educational purposes to continue this study. It is possible I could help a future student of mine to win an audition and the study of this great music is an enriching experience both playing and listening.
There are many possibilities for future research pertaining to the development of the retrieval system and new features that could be added. Some of my plans for the retrieval system include:
1) Continue to add new excerpts to the collection.
2) Publish the retrieval system through a website.
3) Make more of the fields be searchable.
44 4) Build a module that assists students with progress /historical tracking.
This survey has reinforced for me the importance of studying orchestral excerpts and motivated me to continue practicing excerpts and possibly taking more auditions. It is my hope that the information presented here will also motivate players and teachers to either start using orchestral excerpts in their practice and curriculum or to not give up and continue their study.
The study of orchestral excerpts has been overall an enjoyable experience for me and one that I believe has helped me grow in my playing.
45 APPENDIX A:
LIST OF 129 MAIN TITLES
Composer Main Title Adams Harmonielehre Medea's Meditation and Dance of Barber Vengence Barber Prayers of Kierkegaard Bartok Concerto for Orchestra Music for Strings, Percussion and Bartok Celeste Berg Lulu Berg Wozzeck Berlioz Benvenuto Cellini Overture Berlioz Roman Carnival Berlioz Symphony Fantastique Bernstein Age of Anxiety Bernstein Chichester Psalms Bernstein Overture to Candide Symphonic Dances from West Side Bernstein Story Bernstein West Side Story Bizet Carmen Borodin Polovetsian Dances Boulez Le Marteau sans maître Brahms Symphony No. 4 Britten A Midsummer Night's Dream Britten Billy Budd Britten Peter Grimes Britten Young Person's Guide Carter Boston Concerto Chabrier España Copland Appalachian Spring Dean Kormarov's Fall Debussy Fêtes from Nocturnes Debussy Iberia Debussy La Mer Delibes Lakmé Dukas Sorcerer's Apprentice Dvorak Carnival Overture Dvorak Scherzo Capriccioso
46 Composer Main Title Dvorak Symphony No. 9 Gershwin An American in Paris Gershwin Cuban Overture Gershwin Porgy and Bess Gershwin Porgy and Bess (Complete opera) Gershwin Porgy and Bess (selections) Gershwin Rhapsody in Blue Gershwin/Bennett Porgy and Bess: A Symphonic Picture Ginastera Estancia Dances Glazunov Concerto for Violin and Orchestra Grainger The Warriors Green Log Cabin Blues Harbison Symphony No. 3 Hayman Pops Hoedown Higdon Peachtree Street Hindemith Kammermusik Honegger Pacific 231 Humperdinck Hansel and Gretel Kabalevsky Colas Breugnon Khachaturian Gayne Ballet Khachaturian Sabre Dance Kódaly Háry János Suite The Adventures of Robin Hood: Korngold Symphonic Portrait L. Anderson Chicken Reel Liszt Piano Concerto No. 1 Mahler Symphony No. 1 Mahler Symphony No. 3 Melozzi Pinocchio Messiaen Chronochromie Messiaen le Réveil des oiseaux Messiaen L'Oiseau de feu No. 6 Les Oiseaux de Karuizawa (Sept Messiaen Haikai) Messiaen Oiseaux exotiques Mozart Abduction from the Seraglio Overture Mozart Magic Flute Mussorgsky Night on Bald Mountain Nielsen Clarinet Concerto Nielsen Symphony No. 5 Prokofiev Alexander Nevsky
47 Composer Main Title Prokofiev Lt Kijé Prokofiev Peter and the Wolf Prokofiev Piano Concerto No. 3 Prokofiev Romeo and Juliet Suite No. 1 Prokofiev Symphony No. 3 Prokofiev Symphony No. 5 Rachmaninoff Piano Concerto No. 2 Ravel Alborada del Gracioso Ravel Bolero Ravel Mother Goose Respighi Feste Romane Respighi Pines of Rome Rimsky-Korsakov Capriccio Espagnole Rimsky-Korsakov Russian Easter Overture Rimsky-Korsakov Scheherazade Rossini The Thieving Magpie Overture Rossini William Tell Overture Rouse Phaethon Schuller Seven Studies on Themes of Paul Klee Schwantner Chasing Light Schwantner Concerto for Percussion Shostakovich Cello Concerto No. 2 Shostakovich Lady Macbeth of Mtsensk Shostakovich Symphony No. 10 Shostakovich Symphony No. 11 Shostakovich Symphony No. 15 Shostakovich Symphony No. 2 Shostakovich Symphony No. 7 Shostakovich The Golden Age Sibelius Finlandia Sousa Stars and Stripes Forever Strauss Don Juan Strauss Salome (complete opera) Stravinsky Firebird Stravinsky Les Noces Stravinsky Petrouchka Stravinsky Rite of Spring Suppe Pique Dame Overture Tchaikovsky Nutcracker Ballet Tchaikovsky Romeo and Juliet Overture
48 Composer Main Title Tchaikovsky Sleeping Beauty Ballet Tchaikovsky Suite 3 Tchaikovsky Swan Lake Tchaikovsky Symphony No. 4 Vaughn Williams Sinfonia Antartica W. Schuman New England Triptych W. Schuman On Freedom's Ground W. Schuman Symphony No. 3 Wagner Siegfried (Goldenberg book) Wagner Waldweben Williams Catch Me If You Can Williams Close Encounters of the 3rd Kind Suite Williams Cowboy Overture Escapades for Alto Saxophone and Williams Orchestra Williams Star Wars: Suite for Orchestra Williams The Patriot
49 APPENDIX B:
LIST OF WORKS REQUESTED IN THEIR ENTIRETY
Orchestra Instrument Composer Main Title Boston Symphony Orchestra Cymbals Mussorgsky Night on Bald Mountain Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Canton Symphony Orchestra Cymbals Dvorak Scherzo Capriccioso Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Rimsky-Korsakov Capriccio Espagnole Snare Drum Prokofiev Lt Kijé Triangle Bizet Carmen Suite 1 Xylophone Kodály Háry János Suite Cape Cod Symphony Orchestra Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Charleston Symphony Orchestra Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Rimsky-Korsakov Capriccio Espagnole Snare Drum Nielsen Clarinet Concerto Xylophone Kodály Háry János Suite Colorado Springs Philharmonic Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Prokofiev Lt Kijé Demoine Metro Opera Cymbals Tchaikovsky Romeo and Juliet Overture Detroit Symphony Orchestra May 2006 Cymbals Tchaikovsky Romeo and Juliet Overture Cymbals Mussorgsky Night on Bald Mountain Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Rimsky-Korsakov Capriccio Espagnole Snare Drum Prokofiev Lt Kijé Triangle Bizet Carmen Suite 1 Xylophone Gershwin An American in Paris Xylophone Kodály Háry János Suite Detroit Symphony Orchestra June 2012 Cymbals Tchaikovsky Romeo and Juliet Overture Cymbals Dvorak Scherzo Capriccioso Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Nielsen Clarinet Concerto Snare Drum Rimsky-Korsakov Capriccio Espagnole Xylophone Kodály Háry János Suite Xylophone Stravinsky Petrouchka-1911 version
50 Orchestra Instrument Composer Main Title Xylophone Stravinsky Petrouchka-1947 version Evansville Philharmonic Orchestra Glockenspiel Dukas Sorcerer's Apprentice Tambourine Stravinsky Petrouchka-1947 version Ft Wayne Philharmonic Cymbals Tchaikovsky Romeo and Juliet Overture Cymbals Mussorgsky Night on Bald Mountain Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Prokofiev Lt Kijé Snare Drum Nielsen Clarinet Concerto Tambourine Stravinsky Petrouchka-1947 version Xylophone Stravinsky Petrouchka-1947 version Xylophone Gershwin An American in Paris Xylophone Stravinsky Petrouchka-1911 version Helena Symphony Orchestra Cymbals Tchaikovsky Romeo and Juliet Overture Snare Drum Shostakovich Symphony 7 Jacksonville Symphony Orchestra Cymbals Tchaikovsky Romeo and Juliet Overture Cymbals Dvorak Scherzo Capriccioso Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Prokofiev Lt Kijé Snare Drum Rimsky-Korsakov Capriccio Espagnole Tambourine Stravinsky Petrouchka-1947 version Triangle Rimsky-Korsakov Capriccio Espagnole Xylophone Stravinsky Petrouchka-1911 version Kansas City Symphony Cymbals Dvorak Scherzo Capriccioso Xylophone Kodály Háry János Suite Kwazulu-Natal Philharmonic Orchestra Glockenspiel Dukas Sorcerer's Apprentice (Durbin, S.A.) Louisiana Philharmonic Orchestra Cymbals Mussorgsky Night on Bald Mountain Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Sousa Stars and Stripes Forever Snare Drum Prokofiev Lt Kijé Xylophone Gershwin An American in Paris Milwaukee Symphony Orchestra Cymbals Rimsky-Korsakov Capriccio Espagnole Snare Drum Rimsky-Korsakov Capriccio Espagnole Nashville Symphony Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Sousa Stars and Stripes Forever Snare Drum Rimsky-Korsakov Capriccio Espagnole Snare Drum Prokofiev Lt Kijé
51 Orchestra Instrument Composer Main Title Triangle Rimsky-Korsakov Capriccio Espagnole Xylophone Kodály Háry János Suite Xylophone Stravinsky Petrouchka-1947 version National Symphony Orchestra Glockenspiel Dukas Sorcerer's Apprentice North Carolina Symphony Glockenspiel Dukas Sorcerer's Apprentice Orchestre Philharmonique de Radio Castanets Debussy Iberia France Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Rimsky-Korsakov Capriccio Espagnole Oregon Symphony Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Shostakovich Symphony 7 Snare Drum Rimsky-Korsakov Capriccio Espagnole Snare Drum Prokofiev Lt Kijé Xylophone Stravinsky Petrouchka-1911 version Pittsburgh Symphony Orchestra Cymbals Tchaikovsky Romeo and Juliet Overture Cymbals Mussorgsky Night on Bald Mountain Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Shostakovich Symphony 10 Snare Drum Prokofiev Lt Kijé Snare Drum Rimsky-Korsakov Capriccio Espagnole Xylophone Kodály Háry János Suite San Diego Symphony Glockenspiel Dukas Sorcerer's Apprentice Sarasota Orchestra Glockenspiel Dukas Sorcerer's Apprentice Seoul Philharmonic Orchestra Xylophone Kódaly Háry János Suite Syracuse Symphony Cymbals Tchaikovsky Romeo and Juliet Overture Cymbals Mussorgsky Night on Bald Mountain Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Prokofiev Lt Kijé Snare Drum Rimsky-Korsakov Capriccio Espagnole Snare Drum Sousa Stars and Stripes Forever Tambourine Berlioz Roman Carnival Tambourine Stravinsky Petrouchka-1947 version Xylophone Gershwin An American in Paris Xylophone Kodály Háry János Suite Teatro Massimo Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Prokofiev Lt Kijé Tucson Symphony Orchestra Oct 2012 Cymbals Tchaikovsky Romeo and Juliet Overture
52 Orchestra Instrument Composer Main Title Cymbals Mussorgsky Night on Bald Mountain Tucson Symphony Orchestra Sept 2014 Cymbals Tchaikovsky Romeo and Juliet Overture Cymbals Mussorgsky Night on Bald Mountain Victoria Symphony Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Rimsky-Korsakov Capriccio Espagnole Tambourine Stravinsky Petrouchka-1947 version Washington Metropoliton Philharmonic Glockenspiel Dukas Sorcerer's Apprentice Orchestra Snare Drum Prokofiev Lt Kijé West Australian Symphony Orchestra Glockenspiel Dukas Sorcerer's Apprentice Winston-Salem Symphony Orchestra Cymbals Mussorgsky Night on Bald Mountain Cymbals Tchaikovsky Romeo and Juliet Overture Glockenspiel Dukas Sorcerer's Apprentice Youngstown Symphony Glockenspiel Dukas Sorcerer's Apprentice Snare Drum Prokofiev Lt Kijé
53 APPENDIX C: COPYRIGHT PERMISSION LETTERS
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61 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Bass Drum Excerpt Resource Bass Drum w/Cym Atch Cymbals Glock Snare Drum Tambourine Triangle Xylo Bartok, Concerto for Orchestra, Mvt 2, Beginning to downbeat of meas 9 R 140 Bartok, Music for Strings, Percussion and Celeste, Mvt 3, beginning to Reh 5/6 235 Berlioz, Roman Carnival, 9 measures after Reh 9 to the downbeat of Reh 10 209 Berlioz, Roman Carnival, Reh 3 to 8 measures after Reh 3 R 210
Bizet, Carmen Suite 1, Aragonaise (prelude to Act IV), beginning to 7 before Reh C 211
Bizet, Carmen Suite 2, Dance Boheme, entire 212 Bizet, Carmen Suite 2, Danse Boheme, 3 before D to 2 after F L 213 Brahms, Symphony 4, Mvt 3, entire 227 Britten, Peter Grimes, Four Sea Interludes, Storm, Reh 10 to 11 L 214 Chabrier, Espana, 20 after Reh A to B 215 Chabrier, Espana, Reh L to M/to the end 216 Copland, Appalachian Spring, entire 236 Debussy, La Mer, Mvt 2, 2 before Reh 32 to downbeat of 32 R 110
Debussy, La Mer, Mvt 2, 2 before Reh 40 to 41 R 111 Debussy, La Mer, Mvt 2, 9 before Reh 26 to 7 before 26 R 112 Debussy, La Mer, Mvt 2, Reh 16 to 19 R 113
62 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Bass Drum Excerpt Resource Bass Drum w/Cym Atch Cymbals Glock Snare Drum Tambourine Triangle Xylo
Debussy, La Mer, Mvt 3, 9 after Reh 55 to 56 114
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27 115
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27 116
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27 117
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27 118 Dvorak, Carnival Overture, beginning to Reh B/C or 4 before C L 217 Dvorak, Carnival Overture, Reh K to L 218 Dvorak, Carnival Overture, Reh Q to S/end L 219
Dvorak, Carnival Overture, Reh T/U to the end L 220 Dvorak, Scherzo Capriccioso, Reh Q to end L 93 Dvorak, Symphony 9, entire 228 Gershwin, Porgy and Bess, entire D 237 Kabalevsky, Colas Breugnon, Overture, Reh 36 to 37 D 239 Kabalevsky, Colas Breugnon, Overture, Reh 9 to 12 D 241 Kodaly, Hary Janos Suite, entire 243 Kodaly, Hary Janos Suite, Entrance of the Emperor, Beginning to Reh 1 244
63 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Bass Drum Excerpt Resource Bass Drum w/Cym Atch Cymbals Glock Snare Drum Tambourine Triangle Xylo Kodaly, Hary Janos Suite, Entrance of the Emperor, Reh 10 to end 245
Liszt, Piano Concerto 1, Allegro Marziale to K L 229 Liszt, Piano Concerto 1, Allegro vivace to Reh F/H L 230 Mahler, Symphony 1, entire 90 Mahler, Symphony 3, Mvt 1, 6 after Reh 55 to 3 after Reh 57 L 76 Mahler, Symphony 3, Mvt 1, 9th bar after Reh 10 to Reh 11 L 77 Mahler, Symphony 3, Mvt 1, Reh 1 to 2/3 L 78 Mahler, Symphony 3, Mvt 1, Reh 12 to 14 L 79 Messiaen, Oiseaux exotiques, 8 meas before Reh 29 to 10 meas after Reh 29 246 Messiaen, Oiseaux exotiques, Reh 4 to 5 247 Messiaen, Oiseaux exotiques, Reh 6 to 7 248 Mozart, Magic Flute, entire D 119
Mussorgsky, Night on Bald Mountain, Reh S to T D/L 94 Nielsen, Clarinet Concerto, Reh 16 to 18 141 Nielsen, Clarinet Concerto, Reh 27/28-33 142 Nielsen, Clarinet Concerto, Reh 7 to the fermata and Tempo 1 143 Prokofiev, Lt Kije, Mvt Birth of Kije, mvt 1, Reh 1 to 2/3 D 144
64 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Bass Drum Excerpt Resource Bass Drum w/Cym Atch Cymbals Glock Snare Drum Tambourine Triangle Xylo Prokofiev, Symphony 5, Mvt 2, 5 after Reh 42 thru 4 after 46 D 147
Prokofiev, Symphony 5, Mvt 2, Reh 37 to 40 D 150 Prokofiev, Symphony 5, Mvt 4, meas 111 to end L 153
Rachmaninoff, Piano Concerto 2, Mvt 3, entire 98 Ravel, Bolero, Mvt , entire 154 Respighi, Pines of Rome, Mvt 1, beginning to Reh 3 D 121
Respighi, Pines of Rome, Mvt 1, Reh 7 to end D 130 Rimsky-Korsakov, Capriccio Espagnole, Mvt 3- Alborada, entire 231 Rimsky-Korsakov, Capriccio Espagnole, Mvt 3- Alborado, beginning to Reh H/K 155 Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, 15 after Reh L to the 6/8 232
Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, beginning to 10 after Reh L/M L 156 Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, beginning to Reh M L 157 Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, Reh P to 9 after P 233
65 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Bass Drum Excerpt Resource Bass Drum w/Cym Atch Cymbals Glock Snare Drum Tambourine Triangle Xylo Rimsky-Korsakov, Capriccio Espagnole, Mvt 5- Fandango, 4 before Reh Z to Presto 158 Rimsky-Korsakov, Capriccio Espagnole, Mvt 5- Fandango, Reh V to end of coda 234 Rimsky-Korsakov, Capriccio Espagnole, Mvt 5- Fandango, Reh W to end of coda 159 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh D to E D 160 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh D to G L 165 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh D/F to G/H D 170 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh F to G 221 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh G to I D 174 Rimsky-Korsakov, Scheherazade, Mvt 4, 1 before Reh C to D 182 Rimsky-Korsakov, Scheherazade, Mvt 4, four before Reh M to R D 183 Rimsky-Korsakov, Scheherazade, Mvt 4, Reh F to G 222 Rimsky-Korsakov, Scheherazade, Mvt 4, Reh W to X 191 Rimsky-Korsakov, Scheherazade, Mvt 4, RehM/P to U D 192 Shostakovich, Symphony 10, Mvt 2, Reh 98 to end D/L 200
66 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Bass Drum Excerpt Resource Bass Drum w/Cym Atch Cymbals Glock Snare Drum Tambourine Triangle Xylo
Shostakovich, Symphony 10, Mvt 2, six meas before Reh 86 thru 3 meas before Reh 87 D 204
Shostakovich, The Golden Age, Polka, entire D/L 249 Sousa, Stars and Stripes Forever, entire 91
Stravinsky, Firebird-1911 version, Reh 127-133 251 Stravinsky, Petrouchka-1947 version, Reh 124 to before Reh 127 92 Stravinsky, Petrouchka-1947 version, Reh 201 to 206/207 223 Stravinsky, Petrouchka-1947 version, Reh 53 to 56 224 Stravinsky, Rite of Spring, Part 2, Reh 187 to end 80 Stravinsky, Rite of Spring, Part I, Reh 72 to end/6 after 78 D 81 Tchaikovsky, Nutcracker Ballet, Arabian Dance, entire 225
Tchaikovsky, Romeo and Juliet Overture, 2 before Reh O to 8 before P L 99
Tchaikovsky, Romeo and Juliet Overture, entire 88
67 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Bass Drum Excerpt Resource Bass Drum w/Cym Atch Cymbals Glock Snare Drum Tambourine Triangle Xylo
Tchaikovsky, Romeo and Juliet Overture, Reh E to F L 102 Tchaikovsky, Romeo and Juliet Overture, Reh T to U 105 Tchaikovsky, Sleeping Beauty Ballet, Waltz, entire 139 Tchaikovsky, Symphony 4, Mvt 4, 16 after Reh H to end 89 Tchaikovsky, Symphony 4, Mvt 4, beginning to Reh B L 106 Tchaikovsky, Symphony 4, Mvt 4, H/16 after Reh H to end L 107
Tchaikovsky, Symphony 4, Mvt 4, Reh I to end L 109 W. Schuman, Symphony 3, Toccata, Measure 143 to 165/199 208 W. Schuman, Symphony 3, Toccata, Measure 230-244 D/L 252
68 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Two, three, Tamb four finger, Tamb Tamb Soft Loud stroke thumb hand shake Dampening Excerpt passages passages Flams drags rolls rolls knee roll technique Bartok, Concerto for Orchestra, Mvt 2, Beginning to downbeat of meas 9 Bartok, Music for Strings, Percussion and Celeste, Mvt 3, beginning to Reh 5/6 Berlioz, Roman Carnival, 9 measures after Reh 9 to the downbeat of Reh 10 209 Berlioz, Roman Carnival, Reh 3 to 8 measures after Reh 3 210
Bizet, Carmen Suite 1, Aragonaise (prelude to Act IV), beginning to 7 before Reh C 211 211
Bizet, Carmen Suite 2, Dance Boheme, entire 212 212 212 212 Bizet, Carmen Suite 2, Danse Boheme, 3 before D to 2 after F 213 213 Brahms, Symphony 4, Mvt 3, entire 227 227 Britten, Peter Grimes, Four Sea Interludes, Storm, Reh 10 to 11 214 214 Chabrier, Espana, 20 after Reh A to B 215 Chabrier, Espana, Reh L to M/to the end 216 216 216 Copland, Appalachian Spring, entire 236 Debussy, La Mer, Mvt 2, 2 before Reh 32 to downbeat of 32
Debussy, La Mer, Mvt 2, 2 before Reh 40 to 41 Debussy, La Mer, Mvt 2, 9 before Reh 26 to 7 before 26 Debussy, La Mer, Mvt 2, Reh 16 to 19
69 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Two, three, Tamb four finger, Tamb Tamb Soft Loud stroke thumb hand shake Dampening Excerpt passages passages Flams drags rolls rolls knee roll technique
Debussy, La Mer, Mvt 3, 9 after Reh 55 to 56
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27 115
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27 116
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27
Dukas, Sorcerer's Apprentice, Reh 17 to 24/27 Dvorak, Carnival Overture, beginning to Reh B/C or 4 before C 217 217 217 Dvorak, Carnival Overture, Reh K to L 218 Dvorak, Carnival Overture, Reh Q to S/end 219 219 219
Dvorak, Carnival Overture, Reh T/U to the end 220 220 220 Dvorak, Scherzo Capriccioso, Reh Q to end 93 93 Dvorak, Symphony 9, entire Gershwin, Porgy and Bess, entire Kabalevsky, Colas Breugnon, Overture, Reh 36 to 37 Kabalevsky, Colas Breugnon, Overture, Reh 9 to 12 Kodaly, Hary Janos Suite, entire Kodaly, Hary Janos Suite, Entrance of the Emperor, Beginning to Reh 1
70 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Two, three, Tamb four finger, Tamb Tamb Soft Loud stroke thumb hand shake Dampening Excerpt passages passages Flams drags rolls rolls knee roll technique Kodaly, Hary Janos Suite, Entrance of the Emperor, Reh 10 to end
Liszt, Piano Concerto 1, Allegro Marziale to K 229 229 Liszt, Piano Concerto 1, Allegro vivace to Reh F/H Mahler, Symphony 1, entire 90 Mahler, Symphony 3, Mvt 1, 6 after Reh 55 to 3 after Reh 57 76 76 Mahler, Symphony 3, Mvt 1, 9th bar after Reh 10 to Reh 11 77 77 Mahler, Symphony 3, Mvt 1, Reh 1 to 2/3 78 78 Mahler, Symphony 3, Mvt 1, Reh 12 to 14 79 79 Messiaen, Oiseaux exotiques, 8 meas before Reh 29 to 10 meas after Reh 29 Messiaen, Oiseaux exotiques, Reh 4 to 5 247 247 Messiaen, Oiseaux exotiques, Reh 6 to 7 Mozart, Magic Flute, entire
Mussorgsky, Night on Bald Mountain, Reh S to T 94 94 Nielsen, Clarinet Concerto, Reh 16 to 18 Nielsen, Clarinet Concerto, Reh 27/28-33 142 Nielsen, Clarinet Concerto, Reh 7 to the fermata and Tempo 1 143 Prokofiev, Lt Kije, Mvt Birth of Kije, mvt 1, Reh 1 to 2/3 144 144 144
71 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Two, three, Tamb four finger, Tamb Tamb Soft Loud stroke thumb hand shake Dampening Excerpt passages passages Flams drags rolls rolls knee roll technique Prokofiev, Symphony 5, Mvt 2, 5 after Reh 42 thru 4 after 46 147
Prokofiev, Symphony 5, Mvt 2, Reh 37 to 40 150 150 150
Prokofiev, Symphony 5, Mvt 4, meas 111 to end
Rachmaninoff, Piano Concerto 2, Mvt 3, entire 98 Ravel, Bolero, Mvt , entire 154 Respighi, Pines of Rome, Mvt 1, beginning to Reh 3 121
Respighi, Pines of Rome, Mvt 1, Reh 7 to end 130 Rimsky-Korsakov, Capriccio Espagnole, Mvt 3- Alborada, entire 231 231 231 Rimsky-Korsakov, Capriccio Espagnole, Mvt 3- Alborado, beginning to Reh H/K 155 155 Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, 15 after Reh L to the 6/8 232
Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, beginning to 10 after Reh L/M 156 156 Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, beginning to Reh M 157 157 Rimsky-Korsakov, Capriccio Espagnole, Mvt 4- Scene, Reh P to 9 after P 233 158
72 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Two, three, Tamb four finger, Tamb Tamb Soft Loud stroke thumb hand shake Dampening Excerpt passages passages Flams drags rolls rolls knee roll technique Rimsky-Korsakov, Capriccio Espagnole, Mvt 5- Fandango, 4 before Reh Z to Presto 158 158 158 Rimsky-Korsakov, Capriccio Espagnole, Mvt 5- Fandango, Reh V to end of coda 234 234 234 Rimsky-Korsakov, Capriccio Espagnole, Mvt 5- Fandango, Reh W to end of coda 159 159 159 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh D to E 160 160 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh D to G 165 165 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh D/F to G/H 170 170 170 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh F to G 221 221 Rimsky-Korsakov, Scheherazade, Mvt 3, Reh G to I 174 174 174 Rimsky-Korsakov, Scheherazade, Mvt 4, 1 before Reh C to D 182 182 Rimsky-Korsakov, Scheherazade, Mvt 4, four before Reh M to R 183 183 Rimsky-Korsakov, Scheherazade, Mvt 4, Reh F to G 222 Rimsky-Korsakov, Scheherazade, Mvt 4, Reh W to X 191 191 Rimsky-Korsakov, Scheherazade, Mvt 4, RehM/P to U 192 192 192 Shostakovich, Symphony 10, Mvt 2, Reh 98 to end 200 200
73 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Two, three, Tamb four finger, Tamb Tamb Soft Loud stroke thumb hand shake Dampening Excerpt passages passages Flams drags rolls rolls knee roll technique
Shostakovich, Symphony 10, Mvt 2, six meas before Reh 86 thru 3 meas before Reh 87 204 204
Shostakovich, The Golden Age, Polka, entire 249 Sousa, Stars and Stripes Forever, entire
Stravinsky, Firebird-1911 version, Reh 127-133 Stravinsky, Petrouchka-1947 version, Reh 124 to before Reh 127 Stravinsky, Petrouchka-1947 version, Reh 201 to 206/207 223 223 223 Stravinsky, Petrouchka-1947 version, Reh 53 to 56 224
Stravinsky, Rite of Spring, Part 2, Reh 187 to end Stravinsky, Rite of Spring, Part I, Reh 72 to end/6 after 78 Tchaikovsky, Nutcracker Ballet, Arabian Dance, entire 225
Tchaikovsky, Romeo and Juliet Overture, 2 before Reh O to 8 before P 99 99
Tchaikovsky, Romeo and Juliet Overture, entire 88 88
74 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX
Two, three, Tamb four finger, Tamb Tamb Soft Loud stroke thumb hand shake Dampening Excerpt passages passages Flams drags rolls rolls knee roll technique
Tchaikovsky, Romeo and Juliet Overture, Reh E to F 102 102 Tchaikovsky, Romeo and Juliet Overture, Reh T to U 105 105 Tchaikovsky, Sleeping Beauty Ballet, Waltz, entire Tchaikovsky, Symphony 4, Mvt 4, 16 after Reh H to end 89 89 Tchaikovsky, Symphony 4, Mvt 4, beginning to Reh B 106 106 Tchaikovsky, Symphony 4, Mvt 4, H/16 after Reh H to end
Tchaikovsky, Symphony 4, Mvt 4, Reh I to end 109 W. Schuman, Symphony 3, Toccata, Measure 143 to 165/199 208 208 W. Schuman, Symphony 3, Toccata, Measure 230-244
75 APPENDIX E: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM
Instrument Bass Drum Title Composer Mahler MainTitle Symphony 3
Movement 1 Measure 6 after reh 55 to 3 Reh # after reh 57
Attributes Criteria Term meter 4/4 tempo qtr = 82 - 90 bpm rhythmic whole, qtr, 8th and 16th triplet technical 16th note triplet is an appogiatura technical timing of 16th note triplet technical smoothness of soft rolls musical soft to very soft year 1896 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tom Gauger Bass Drum Rolling 8 https://open.spotify.co Dallas Symphony Jaap van Zweden 7 https://open.spotify.co New York Philharmonic Dimitri Mitropoulos 6 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansens 5 https://open.spotify.co London Symphony Orchestra Valery Gergiev http://vicfirth.com/tom-gauger-concert-
76 Instrument Bass Drum Title Composer Mahler MainTitle Symphony 3
Movement 1 Measure 9th bar after reh 10 Reh # to reh 11
Attributes Criteria Term meter 4/4 tempo qtr = 82 - 90 bpm rhythmic qtr, 8th, qtr note triplet technical appoggiatura technical three stroke ruff technical rolls musical very soft year 1896 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tom Gauger Bass Drum Rolling Video 8 https://open.spotify.co Dallas Symphony Jaap van Zweden 7 https://open.spotify.co New York Philharmonic Dimitri Mitropoulos 6 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansens 5 https://open.spotify.co London Symphony Orchestra Valery Gergiev http://vicfirth.com/tom-gauger-concert-
77 Instrument Bass Drum Title Composer Mahler MainTitle Symphony 3
Movement 1 Measure Reh 1 to 2/3 Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 82 - 90 bpm rhythmic whole, qtr, 8th, qtr note triplet rhythmic three stroke ruff technical appoggiatura technical soft rolls musical very soft year 1896 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tom Gauger Bass Drum Rolling Video 8 https://open.spotify.co Dallas Symphony Jaap van Zweden 7 https://open.spotify.co New York Philharmonic Dimitri Mitropoulos 6 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansens 5 https://open.spotify.co London Symphony Orchestra Valery Gergiev http://vicfirth.com/tom-gauger-concert-
78 Instrument Bass Drum Title Composer Mahler MainTitle Symphony 3
Movement 1 Measure Reh 12 to 14 Reh #
Attributes Criteria Term meter 3/2 reh 13 meter 4/4 reh 12 to 13 tempo qtr = 82 - 90 bpm rhythmic qtr, 8ths, 16th triplet technical 16th triplet is an appoggiatura technical soft rolls musical very soft year 1896 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tom Gauger Bass Drum Rolling Video 8 https://open.spotify.co Dallas Symphony Jaap van Zweden 7 https://open.spotify.co New York Philharmonic Dimitri Mitropoulos 6 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansens 5 https://open.spotify.co London Symphony Orchestra Valery Gergiev http://vicfirth.com/tom-gauger-concert-
79 Instrument Bass Drum Title Composer Stravinsky MainTitle Rite of Spring
Movement Part 2 Measure Reh 187 to end Reh #
Attributes Criteria Term meter changing, odd tempo pulse = 268 - 285 rhythmic 8th, 16th notes technical dampening technical isolated attacks technical counting rests year [1913-14]
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 121 https://open.spotify.co London Symphony Orchestra Leonard Bernstein 124 https://open.spotify.co Cleveland Orchestra Pierre Boulez 122 https://open.spotify.co Berlin Philharmonic Simon Rattle
80 Instrument Bass Drum Title Composer Stravinsky MainTitle Rite of Spring
Movement Part I Measure Reh 72 to end/6 Reh # after 78
Attributes Criteria Term meter 3/4 tempo qtr = 163 - 170 bpm rhythmic qtr, 8th note triplet technical stamina technical steady tempo technical short rolls with crescendo musical crescendo, diminuendo musical soft to loud year [1913-14] Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA Dissertation. Contribution by James 120 https://open.spotify.co Berlin Philharmonic Simon Rattle Ross. 119 https://open.spotify.co London Symphony Orchestra Leonard Bernstein 123 https://open.spotify.co Cleveland Orchestra Pierre Boulez
81 Excerpt from “A Pedagogy for Ten Standard Orchestral Excerpts,” by R. Richard MacDonald.
Reprinted with permission.
82
83
84
Excerpt from James Ross’ interview:
85
86
87 Instrument Bass Drum Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure entire Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 140-164 bpm rhythmic qtr rhythmic syncopation technical dampening technical timing of syncopated eighth notes year 1880
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev 10 https://open.spotify.co New York Philharmonic Leonard Berstein 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo
88 Instrument Bass Drum Title Composer Tchaikovsky MainTitle Symphony 4
Movement 4 Measure 16 after reh H to end Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 144 to 168 bpm rhythmic qtr, 8th notes technical upbeat 8th notes technical dampening technical qtr musical some conductors accelerando musical loud year 1877 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 59 https://open.spotify.co Vienna Philharmonic Valery Gergiev 58 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 57 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan 56 https://open.spotify.co Chicago Symphony Orchestra Claudio Abbado
89 Instrument Bass Drum w/Cym Atch Title Composer Mahler MainTitle Symphony 1
Movement Measure entire Reh #
Attributes Criteria Term meter 4/4 tempo bpm 78 - 92 rhythmic 8th, 8th notes rests technical consistency of sound technical precise timing musical ritard musical very soft year 1884 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 71 https://open.spotify.co Philadelphia Orchestra Christoph Eschenbach 70 https://open.spotify.co New York Philharmonic Dimitri Mitropoulos 69 https://open.spotify.co Chicago Symphony Orchestra Pierre Boulez 68 https://open.spotify.co San Francisco Symphony Michael Tilson Thomas
90 Instrument Bass Drum w/Cym Atch Title Composer Sousa MainTitle Stars and Stripes Forever
Movement Measure entire Reh #
Attributes Criteria Term meter cut time tempo bpm 121- 125 rhythmic half notes, qtr notes technical clarity with cymbals technical stamina musical dynamic shaping musical march style year 1897 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 97 https://open.spotify.co Sousa Band J.P. Sousa 96 https://open.spotify.co U.S. Marine Band 95 https://open.spotify.co Band of the Grenadier Guards Major Rodney Bashford
91 Instrument Bass Drum w/Cym Atch Title Composer Stravinsky MainTitle Petrouchka-1947 version
Movement Measure Reh 124 to before Reh # reh 127
Attributes Criteria Term meter 2/4, 3/4 mixed tempo qtr = 90 - 115 bpm rhythmic syncopation rhythmic 8th, 16th notes musical soft
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 148 https://open.spotify.co Czech Philharmonic Orchestra Zdenek Kosler 147 https://open.spotify.co Vienna Philharmonic Lorin Maazel 146 https://open.spotify.co London Symphony Orchestra Claudio Abbado
92 Instrument Cymbals Title Composer Dvorak MainTitle Scherzo Capriccioso
Movement Measure Reh Q to end Reh #
Attributes Criteria Term meter 3/4 tempo at Presto dotted qtr = 105 - 110 tempo at Ltr Q dotted qtr = 88- 90 rhythmic hemiola rhythmic half note, qtr note technical stamina technical dampening musical tempo change at Presto musical soft to very loud year 1883 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Chris McLaurin, Principal Percussion, Kansas City Symphony 105 https://open.spotify.co Baltimore Symphony Orchestra Marin Alsop Orchestra, 4 popular orchestral 104 https://open.spotify.co Bournemouth Symphony Orches Jose Serebrier excerpts commonly used for 103 https://open.spotify.co Berlin Philharmonic Herbert von Karajan auditions. https://www.youtube.com/watch?v=0w
93 Instrument Cymbals Title Composer Mussorgsky MainTitle Night on Bald Mountain
Movement Measure reh S to T Reh #
Attributes Criteria Term meter cut time tempo half note = 116 to 120 rhythmic syncopation rhythmic qtr, 8th notes technical fast succession of 8th note crashes technical fast damping musical loud year 1886 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Thomas Stubbs, Principal Timpanist, Percussionist (cymbal specialist), St 16 https://open.spotify.co Dallas Symphony Orchestra Eduardo Mata Louis Symphony 15 https://open.spotify.co Russian Radio Symphony Orche Nikolai Golovanov 14 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 13 https://open.spotify.co New York Philharmonic Lenard Bernstein https://www.youtube.com/watch?v=H
94 Instrument Cymbals Title Composer Mussorgsky MainTitle Night on Bald Mountain
Movement Measure reh S to T Reh #
Attributes Criteria Term meter cut time tempo half note = 116 to 120 rhythmic syncopation rhythmic qtr, 8th notes technical fast succession of 8th note crashes technical fast damping musical loud year 1886 Resources D/L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Lee Vinson 16 https://open.spotify.co Dallas Symphony Orchestra Eduardo Mata 15 https://open.spotify.co Russian Radio Symphony Orche Nikolai Golovanov 14 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 13 https://open.spotify.co New York Philharmonic Lenard Bernstein http://www.leevinson.com/music
95 Mussorgsky’s Night on Bald Mountain by W. Lee Vinson Boston Symphony Orchestra
Performing the Excerpt I will be discussing the crash cymbal excerpt from Mussorgsky’s Night on Bald Mountain within the context of audition preparation. An audition candidate’s first priority when performing this excerpt in an audition must be the precise execution of exactly what is found on the page. The rhythm must be clear and the crashes must be consistent. One’s second priority should be playing with good time and at an appropriate tempo. Finally, once the excerpt can be consistently performed at a very high level of technical proficiency, the music should be instilled with an appropriate level of energy and musical character. I feel as though there should be a subtle sense of forward momentum through this passage as long as the time remains accurate and the rhythm feels settled.
Choice of Cymbals I prefer a small but heavy pair of cymbals for this excerpt such as the Zildjian 16" K Constantinople Vintage Orchestral Medium Heavy. A small pair of cymbals is useful in this situation because they are easier to control than a larger pair. A heavy pair of cymbals will help provide better articulation and more volume with less effort.
Practice Techniques The following are several ways I go about practicing this excerpt. As always, be careful with your hands and use earplugs!
-Build speed by practicing small groups of fast crashes (3-6 notes at a time). Try creating short exercises that gradually add notes to a pattern.
Exercise 1:
-Practice small groups of fast crashes grouped around different beats. Even the simplest rhythm takes on an entirely new feel when shifted one way or the other by a single eighth note.
Exercise 2:
96 -Remove notes to simplify execution when checking your time with a metronome or working on phrasing and direction.
Exercise 3:
-Build strength and endurance by practicing in several short sessions spaced throughout the day. For me, four practice sessions of five minutes each is far more advantageous than one 20 minute session per day. Shorter practice sessions are also less likely to cause back, hand, and finger injuries.
-Practice with larger cymbals to make playing with smaller cymbals more effortless. Don’t over-practice. Keep the practice sessions short.
-Practice with all kinds of cymbals to prepare for auditions where you may be asked to use a pair of cymbals you’ve never played before. It’s not a bad idea to use the cymbals provided at an audition whether or not you are required to do so. Committees tend to respond better to hearing cymbals they are accustomed to hearing with their orchestra.
97 Instrument Cymbals Title Composer Rachmaninoff MainTitle Piano Concerto 2
Movement 3 Measure entire Reh #
Attributes Criteria Term meter cut time tempo qtr = 70 - 96 bpm rhythmic qtr, 8th notes technical maintain steady tempo technical dampening musical ritard musical very soft year 1901 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Chris McLaurin, Principal Percussion, Kansas City Symphony 118 https://open.spotify.co Philadelphia Symphony Orchestr Ricardo Muti Orchestra, 4 popular orchestral 117 https://open.spotify.co Chicago Symphony Orchestra Fritz Reiner excerpts commonly used for 116 https://open.spotify.co Mariinsky Orchestra Valery Gergiev auditions. https://www.youtube.com/watch?v=0w
98 Instrument Cymbals Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure 2 before reh O to 8 Reh # before P
Attributes Criteria Term meter 4/4 tempo 140 to 164 bpm rhythmic qtr, 8th notes rhythmic syncopated 8th note rhythm technical dampened and full crashes technical precise timing musical loud year 1880 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Chris McLaurin, Principal Percussion, Kansas City Symphony 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim Orchestra, 4 popular orchestral 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev excerpts commonly used for 10 https://open.spotify.co New York Philharmonic Leonard Berstein auditions. 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo https://www.youtube.com/watch?v=0w
99 Instrument Cymbals Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure 2 before reh O to 8 Reh # before P
Attributes Criteria Term meter 4/4 tempo 140 to 164 bpm rhythmic qtr, 8th notes rhythmic syncopated 8th note rhythm technical dampened and full crashes technical precise timing musical loud year 1880 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tom Stubbs, Principal Timpanist/Percussion (cymbal 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim specialist), St Louis Symphony 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev 10 https://open.spotify.co New York Philharmonic Leonard Berstein 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo https://www.youtube.com/playlist?list=
100 Instrument Cymbals Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure R/22 before reh U to Reh # end
Attributes Criteria Term meter 4/4 tempo 140 to 164 bpm rhythmic upbeat 8th notes rhythmic half notes, qtr notes, 8th notes technical full crashes technical dampening musical loud year 1880 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev 10 https://open.spotify.co New York Philharmonic Leonard Berstein 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo
101 Instrument Cymbals Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure reh E to F Reh #
Attributes Criteria Term meter 4/4 tempo 140 to 164 bpm rhythmic 8th notes rhythmic syncopation technical dampening and full crashes technical counting rests musical mezzo forte to fortissimo year 1880 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tom Stubbs, Principal Timpanist/Percussion (cymbal 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim specialist), St Louis Symphony 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev 10 https://open.spotify.co New York Philharmonic Leonard Berstein 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo https://www.youtube.com/playlist?list=
102 Instrument Cymbals Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure reh E to F Reh #
Attributes Criteria Term meter 4/4 tempo 140 to 164 bpm rhythmic 8th notes rhythmic syncopation technical dampening and full crashes technical counting rests musical mezzo forte to fortissimo year 1880 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Chris McLaurin, Principal Percussion, Kansas City Symphony 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim Orchestra, 4 popular orchestral 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev excerpts commonly used for 10 https://open.spotify.co New York Philharmonic Leonard Berstein auditions. 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo https://www.youtube.com/watch?v=0w
103 Instrument Cymbals Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure reh E to F Reh #
Attributes Criteria Term meter 4/4 tempo 140 to 164 bpm rhythmic 8th notes rhythmic syncopation technical dampening and full crashes technical counting rests musical mezzo forte to fortissimo year 1880 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Zildjian Score Magazine -- Michael Burritt Lesson Part 2 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev 10 https://open.spotify.co New York Philharmonic Leonard Berstein 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo https://www.youtube.com/watch?v=3Q
104 Instrument Cymbals Title Composer Tchaikovsky MainTitle Romeo and Juliet Overture
Movement Measure Reh T to U Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 140 to 164 bpm rhythmic qtr, 8th note technical upbeat 8th notes technical dampening musical loud year 1880
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 12 https://open.spotify.co Chicago Symphony Orchestra Daniel Barenboim 11 https://open.spotify.co Russian National Orchestra Mikhail Pletnev 10 https://open.spotify.co New York Philharmonic Leonard Berstein 9 https://open.spotify.co Berlin Philharmonic Claudio Abaddo
105 Instrument Cymbals Title Composer Tchaikovsky MainTitle Symphony 4
Movement 4 Measure beginning to reh B Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 132 - 156 bpm technical dampening technical qtr, 8th note musical loud year 1877
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Chris McLaurin, Principal Percussion, Kansas City Symphony 59 https://open.spotify.co Vienna Philharmonic Valery Gergiev Orchestra, 4 popular orchestral 58 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy excerpts commonly used for 57 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan auditions. 56 https://open.spotify.co Chicago Symphony Orchestra Claudio Abbado https://www.youtube.com/watch?v=0w
106 Instrument Cymbals Title Composer Tchaikovsky MainTitle Symphony 4
Movement 4 Measure H/16 after reh H to Reh # end
Attributes Criteria Term meter 4/4 tempo qtr = 144 - 168 bpm rhythmic qtr, 8th notes technical quick succession of 8th notes technical dampening technical full crashes musical some conductors accelerando year 1877 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Chris McLaurin, Principal Percussion, Kansas City Symphony 59 https://open.spotify.co Vienna Philharmonic Valery Gergiev Orchestra, 4 popular orchestral 58 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy excerpts commonly used for 57 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan auditions. 56 https://open.spotify.co Chicago Symphony Orchestra Claudio Abbado https://www.youtube.com/watch?v=0w
107 Instrument Cymbals Title Composer Tchaikovsky MainTitle Symphony 4
Movement 4 Measure H/16 after reh H to Reh # end
Attributes Criteria Term meter 4/4 tempo qtr = 144 - 168 bpm rhythmic qtr, 8th notes technical quick succession of 8th notes technical dampening technical full crashes musical some conductors accelerando year 1877 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tom Stubbs, Principal Timpanist/Percussion (cymbal 59 https://open.spotify.co Vienna Philharmonic Valery Gergiev specialist), St Louis Symphony 58 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 57 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan 56 https://open.spotify.co Chicago Symphony Orchestra Claudio Abbado https://www.youtube.com/playlist?list=
108 Instrument Cymbals Title Composer Tchaikovsky MainTitle Symphony 4
Movement 4 Measure reh I to end Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 144 - 168 bpm rhythmic upbeat 8th notes rhythmic qtr, 8th notes technical full crashes technical quick succession of 8th notes technical dampening musical some conductors accelerando musical very loud year 1877 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Chris McLaurin, Principal Percussion, Kansas City Symphony 59 https://open.spotify.co Vienna Philharmonic Valery Gergiev Orchestra, 4 popular orchestral 58 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy excerpts commonly used for 57 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan auditions. 56 https://open.spotify.co Chicago Symphony Orchestra Claudio Abbado https://www.youtube.com/watch?v=0w
109 retrieval data entry form Instrument Glock Titl Composer Debussy MainTitle La Mer
Movement 2 Measure 2 before reh 32 to Reh # downbeat of 32
Attribute Criteria Term meter 3/4 tempo qtr = 100 - 108 bpm rhythmic 16th notes musical crescendo musical soft range G4 to G#5 scale whole tone year 1908
Recording Resources R tbl_recordings_IDSpotify URL Orchestra Conductor 54 https://open.spotify.co New York Philharmonic Leonard Bernstein The Logic of it All, by Anthony 52 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons Cirone and Joe Sinai, pages 130- 50 https://open.spotify.co Chicago Symphony Orchestra Sir George Solti 131. Library of Congress call # MT655 .C48 1977
110 Instrument Glock Titl Composer Debussy MainTitle La Mer
Movement 2 Measure 2 before reh 40 to Reh # 41
Attribute Criteria Term meter 3/4 rhythmic qtr, 8th notes technical dampening musical very soft range F4 to D6 year 1908
Recording Resources R tbl_recordings_IDSpotify URL Orchestra Conductor 54 https://open.spotify.co New York Philharmonic Leonard Bernstein The Logic of it All, by Anthony 52 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons Cirone and Joe Sinai, pages 130- 50 https://open.spotify.co Chicago Symphony Orchestra Sir George Solti 131. Library of Congress call # MT655 .C48 1977
111 Instrument Glock Titl Composer Debussy MainTitle La Mer
Movement 2 Measure 9 before reh 26 to Reh # 7 before 26
Attribute Criteria Term meter 3/4 tempo qtr = 100 - 108 bpm rhythmic 16th notes technical slurred articulation musical soft range C5 to G5 scale diatonic year 1908
Recording Resources R tbl_recordings_IDSpotify URL Orchestra Conductor 54 https://open.spotify.co New York Philharmonic Leonard Bernstein The Logic of it All, by Anthony 52 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons Cirone and Joe Sinai, pages 130- 50 https://open.spotify.co Chicago Symphony Orchestra Sir George Solti 131. Library of Congress call # MT655 .C48 1977
112 Instrument Glock Titl Composer Debussy MainTitle La Mer
Movement 2 Measure reh 16 to 19 Reh #
Attribute Criteria Term tempo varied rhythmic 8th, 16th, 16th triplet technical counting rests musical abrupt dynamic shift musical soft range f4 to c6 scale various: whole tone, pentatonic year 1908
Recording Resources R tbl_recordings_IDSpotify URL Orchestra Conductor 54 https://open.spotify.co New York Philharmonic Leonard Bernstein The Logic of it All, by Anthony 52 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons Cirone and Joe Sinai, pages 130- 50 https://open.spotify.co Chicago Symphony Orchestra Sir George Solti 131. Library of Congress call # MT655 .C48 1977
113 Instrument Glock Titl Composer Debussy MainTitle La Mer
Movement 3 Measure 9 after reh 55 to Reh # 56
Attribute Criteria Term tempo qtr = 135 - 180 bpm rhythmic 8th note triplets rhythmic qtr, 8th notes technical slurred articulation technical tenuto and marcato articulation musical very soft range e5 to d6 year 1908
Recording Resources tbl_recordings_IDSpotify URL Orchestra Conductor 55 https://open.spotify.co New York Philharmonic Leonard Bernstein 53 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons 51 https://open.spotify.co Chicago Symphony Orchestra Sir George Solti
114 Instrument Glock Title Composer Dukas MainTitle Sorcerer's Apprentice
Movement Measure Reh 17 to 24/27 Reh #
Attributes Criteria Term meter 3/8 tempo dotted qtr = 110 - 126 technical articulate detached technical grace notes musical crescendo musical soft range F#3 to C5 scale minor year 1897 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 20 https://open.spotify.co American Symphony Orchestra Leon Botstein 19 https://open.spotify.co London Philharmonic Orchestra Hugo Rignold 18 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 17 https://open.spotify.co Berlin Philharmonic James Levine
115 Instrument Glock Title Composer Dukas MainTitle Sorcerer's Apprentice
Movement Measure Reh 17 to 24/27 Reh #
Attributes Criteria Term meter 3/8 tempo dotted qtr = 110 - 126 technical articulate detached technical grace notes musical crescendo musical soft range F#3 to C5 scale minor year 1897 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 20 https://open.spotify.co American Symphony Orchestra Leon Botstein 19 https://open.spotify.co London Philharmonic Orchestra Hugo Rignold 18 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 17 https://open.spotify.co Berlin Philharmonic James Levine
116 Instrument Glock Title Composer Dukas MainTitle Sorcerer's Apprentice
Movement Measure Reh 17 to 24/27 Reh #
Attributes Criteria Term meter 3/8 tempo dotted qtr = 110 - 126 technical articulate detached technical grace notes musical crescendo musical soft range F#3 to C5 scale minor year 1897 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 20 https://open.spotify.co American Symphony Orchestra Leon Botstein 19 https://open.spotify.co London Philharmonic Orchestra Hugo Rignold 18 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 17 https://open.spotify.co Berlin Philharmonic James Levine
117 Instrument Glock Title Composer Dukas MainTitle Sorcerer's Apprentice
Movement Measure Reh 17 to 24/27 Reh #
Attributes Criteria Term meter 3/8 tempo dotted qtr = 110 - 126 technical articulate detached technical grace notes musical crescendo musical soft range F#3 to C5 scale minor year 1897 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 20 https://open.spotify.co American Symphony Orchestra Leon Botstein 19 https://open.spotify.co London Philharmonic Orchestra Hugo Rignold 18 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 17 https://open.spotify.co Berlin Philharmonic James Levine
118 Instrument Glock Title Composer Mozart MainTitle Magic Flute
Movement Measure entire Reh #
Attributes Criteria Term meter cut time rhythmic qtr, 8th notes technical muffling at end technical double stops technical qtr technical arpeggio musical differentiation of phrases musical soft scale G Major year 1791 Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Ted 21 http://musaic.nws.edu/ New World Symphony Chris Deviney Adkatz and Michael Udow
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120 Instrument Glock Title Composer Respighi MainTitle Pines of Rome
Movement 1 Measure beginning to reh 3 Reh #
Attributes Criteria Term meter 3/8 reh 2 to reh 3 meter 2/8 to reh 2 tempo qtr = 85- 95 bpm rhythmic 8th, 16th, 32nd notes technical double vertical strokes technical 3 or 4 mallets musical crescendo musical very loud scale major Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Brian 133 https://open.spotify.co London Symphony Orchestra Sir Malcolm Sargent Mount and John Kinzie 132 https://open.spotify.co Cleveland Orchestra Lorin Maazal 131 https://open.spotify.co Philadelphia Orchestra Ricardo Muti
121 Excerpt from “A Pedagogy for Ten Standard Orchestral Percussion Excerpts,” by R. Richard MacDonald.
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Reprinted with Permission.
129 Instrument Glock Title Composer Respighi MainTitle Pines of Rome
Movement 1 Measure reh 7 to end Reh #
Attributes Criteria Term meter 2/8 reh 8 to end meter 2/4 reh 7 to 8 tempo qtr = 125 - 130 rhythmic 8th, 8th note triplet, 16th notes technical double vertical strokes technical 3 or 4 mallets technical trills musical will sometimes accelerando range A4 to F#6 scale major Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contibution by Brian 133 https://open.spotify.co London Symphony Orchestra Sir Malcolm Sargent Mount and John Kinzie. 132 https://open.spotify.co Cleveland Orchestra Lorin Maazal 131 https://open.spotify.co Philadelphia Orchestra Ricardo Muti
130 Excerpt from “A Pedagogy for Ten Standard Orchestral Percussion Excerpts,” by R. Richard MacDonald.
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Reprinted with Permission.
138 Instrument Glock Title Composer Tchaikovsky MainTitle Sleeping Beauty Ballet
Movement Waltz Measure entire Reh #
Attributes Criteria Term meter 3/4 technical muffling technical qtr musical waltz style musical crescendo musical soft range d5 to f6 scale minor tonality g year 1888-89 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 24 https://open.spotify.co Dallas Symphony Orchestra Andrew Litton 23 https://open.spotify.co New York Philharmonic Leonard Berstein 22 https://open.spotify.co Royal Philharmonic Orchestra Barry Wordsworth
139 Instrument Snare Drum Title Composer Bartok MainTitle Concerto for Orchestra
Movement 2 Measure Beginning to Reh # downbeat of meas 9
Attributes Criteria Term meter 2/4 tempo qtr = 80 - 88 bpm rhythmic qtr, 8th, 16th notes technical playing zones technical accent and tap technical syncopation musical diminuendo musical mezzo forte to soft year 1943 Resources R
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 127 https://open.spotify.co Cleveland Orchestra George Szell 126 https://open.spotify.co Berlin Philharmonic Herbert von Karajan 125 https://open.spotify.co Philadelphia Orchestra Christoph Eschenbach
140 Instrument Snare Drum Title Composer Nielsen MainTitle Clarinet Concerto
Movement Measure Reh 16 to 18 Reh #
Attributes Criteria Term meter 3/4 rhythmic dotted 16th - 32nd note passage rhythmic 16th notes, 16th note triplets musical subtle dynamic shifts musical soft to loud
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 78 https://open.spotify.co Berlin Philharmonic Sir Simon Rattle 74 https://open.spotify.co Lahti Symphony Orchestra Osmo Vanska 72 https://open.spotify.co Danish National Radio Symphon Michael Schonwandt
141 Instrument Snare Drum Title Composer Nielsen MainTitle Clarinet Concerto
Movement Measure Reh 27/28-33 Reh #
Attributes Criteria Term meter 2/8 meter changing rhythmic 16th, 32nd notes technical flams technical unusual notation technical changing duple to triple feel technical closed rolls musical syncopation musical wide dynamic shifts Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 77 https://open.spotify.co Berlin Philharmonic Sir Simon Rattle 75 https://open.spotify.co Lahti Symphony Orchestra Osmo Vanska 72 https://open.spotify.co Danish National Radio Symphon Michael Schonwandt
142 Instrument Snare Drum Title Composer Nielsen MainTitle Clarinet Concerto
Movement Measure reh 7 to the fermata Reh # and Tempo 1
Attributes Criteria Term meter 2/4 rhythmic 8th, 8th triplet, 32nd notes technical no release after 32nd notes technical 32nds followed by 8th note triplets musical very soft
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 76 https://open.spotify.co Berlin Philharmonic Sir Simon Rattle 73 https://open.spotify.co Lahti Symphony Orchestra Osmo Vanska 72 https://open.spotify.co Danish National Radio Symphon Michael Schonwandt
143 Instrument Snare Drum Title Composer Prokofiev MainTitle Lt Kije
Movement Birth of Kije, mvt 1 Measure reh 1 to 2/3 Reh #
Attributes Criteria Term meter 4/4 tempo 120 bpm rhythmic qtr, 8th 16th notes technical flams technical open three stroke ruffs technical open drags musical rudimental style musical very soft year 1934 Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Shaun Tilberg, Principal Percussion, Pheonix Symphony 28 https://open.spotify.co Chicago Symphony Orchestra Fritz Reiner 27 https://open.spotify.co New York Philharmonic Dimitri Mitropoulos 26 https://open.spotify.co London Philharmonic Orchestra Claudio Abaddo 25 https://open.spotify.co Berlin Philharmonic Seji Ozawa
144 Page from The Regimen by Shaun Tilberg
145 Instrument Snare Drum Title Composer Prokofiev MainTitle Lt Kije
Movement Birth of Kije, mvt 1 Measure reh 1 to 2/3 Reh #
Attributes Criteria Term meter 4/4 tempo 120 bpm rhythmic qtr, 8th 16th notes technical flams technical open three stroke ruffs technical open drags musical rudimental style musical very soft year 1934 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Dr. John Parks IV, Florida State University, 4 stroke ruffs 28 https://open.spotify.co Chicago Symphony Orchestra Fritz Reiner 27 https://open.spotify.co New York Philharmonic Dimitri Mitropoulos 26 https://open.spotify.co London Philharmonic Orchestra Claudio Abaddo 25 https://open.spotify.co Berlin Philharmonic Seji Ozawa https://www.youtube.com/watch?v=qr
146 Instrument Snare Drum Title Composer Prokofiev MainTitle Symphony 5
Movement 2 Measure 5 after reh 42 thru 4 Reh # after 46
Attributes Criteria Term meter 3/4 tempo qtr = 153 - 165 bpm rhythmic qtr notes technical three stroke ruffs, four stroke ruffs technical two stroke drags technical closed roll with crescendo technical flams musical tiered dynamics musical soft year 1944 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Dr. John Parks IV, Florida State University, 4 stroke ruffs 66 https://open.spotify.co Leningrad Philharmonic Orchestr Mariss Jansons 64 https://open.spotify.co Sydney Symphony Orchestra Vladimir Ashkenazy 62 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan 60 https://open.spotify.co Philadelphia Orchestra Christoph Eschenbach https://www.youtube.com/watch?v=qr
147 Instrument Snare Drum Title Composer Prokofiev MainTitle Symphony 5
Movement 2 Measure 5 after reh 42 thru 4 Reh # after 46
Attributes Criteria Term meter 3/4 tempo qtr = 153 - 165 bpm rhythmic qtr notes technical three stroke ruffs, four stroke ruffs technical two stroke drags technical closed roll with crescendo technical flams musical tiered dynamics musical soft year 1944 Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Shaun Tilberg, Principal Percussion, Pheonix Symphony 66 https://open.spotify.co Leningrad Philharmonic Orchestr Mariss Jansons 64 https://open.spotify.co Sydney Symphony Orchestra Vladimir Ashkenazy 62 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan 60 https://open.spotify.co Philadelphia Orchestra Christoph Eschenbach
148 Page from The Regimen by Shaun Tilberg
149 Instrument Snare Drum Title Composer Prokofiev MainTitle Symphony 5
Movement 2 Measure reh 37 to 40 Reh #
Attributes Criteria Term meter 3/4 tempo qtr = 150 - 163 bpm rhythmic qtr technical flams technical two stroke drag technical three stroke ruffs, four stroke ruffs musical very soft with crescendo year 1944 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Dr. John Parks IV, Florida State University, 4 stroke ruffs 66 https://open.spotify.co Leningrad Philharmonic Orchestr Mariss Jansons 64 https://open.spotify.co Sydney Symphony Orchestra Vladimir Ashkenazy 62 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan 60 https://open.spotify.co Philadelphia Orchestra Christoph Eschenbach https://www.youtube.com/watch?v=qr
150 Instrument Snare Drum Title Composer Prokofiev MainTitle Symphony 5
Movement 2 Measure reh 37 to 40 Reh #
Attributes Criteria Term meter 3/4 tempo qtr = 150 - 163 bpm rhythmic qtr technical flams technical two stroke drag technical three stroke ruffs, four stroke ruffs musical very soft with crescendo year 1944 Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Shaun Tilberg, Principal Percussion, Pheonix Symphony 66 https://open.spotify.co Leningrad Philharmonic Orchestr Mariss Jansons 64 https://open.spotify.co Sydney Symphony Orchestra Vladimir Ashkenazy 62 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan 60 https://open.spotify.co Philadelphia Orchestra Christoph Eschenbach
151 Page from The Regimen by Shaun Tilberg
152 Instrument Snare Drum Title Composer Prokofiev MainTitle Symphony 5
Movement 4 Measure meas 111 to end Reh #
Attributes Criteria Term meter 2/2 tempo half note = 84 - 88 rhythmic 8th, 16th notes technical soft rolls technical accents musical loud to soft to loud year 1944
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor William James, Principal Percussion, St Louis Symphony 67 https://open.spotify.co Leningrad Philharmonic Orchestr Mariss Jansons 65 https://open.spotify.co Sydney Symphony Orchestra Vladimir Ashkenazy 63 https://open.spotify.co Berlin Philharmonic Orchestra Herbert von Karajan 61 https://open.spotify.co Philadelphia Orchestra Christoph Eschenbach https://williamjamespercussion.com/th
153 Instrument Snare Drum Title Composer Ravel MainTitle Bolero
Movement Measure entire Reh #
Attributes Criteria Term meter 3/4 tempo qtr = 65 - 73 rhythmic two bar repeating rhythm rhythmic 8th, 16th triplet technical maintain steady tempo technical stamina musical loud at end musical very soft at beginning Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 169 https://open.spotify.co Boston Symphony Orchestra Charles Munch 168 https://open.spotify.co New York Philharmonic Leonard Bernstein 167 https://open.spotify.co Chicago Symphony Orchestra Sir George Solti
154 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 3-Alborado Measure beginning to reh H/K Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 112 - 140 bpm rhythmic 8th, 16th note triplets technical rolls technical double (two stroke) drag musical loud year 1887
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 4 https://open.spotify.co New York Philharmonic Leonard Bernstein 3 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 2 https://open.spotify.co Seattle Symphony Orchestra Gerard Schwarz 1 https://open.spotify.co Czech Philharmonic Vladmir Valek
155 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 4-Scene Measure beginning to 10 Reh # after reh L/M
Attributes Criteria Term meter 6/8 rhythmic 8th, 32nd notes technical stamina for length of roll technical closed rolls musical very soft year 1887
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor William James, Principal Percussion, St Louis Symphony 86 https://open.spotify.co Czech Philharmonic Orchestra Vladimir Valek 84 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 83 https://open.spotify.co New York Philharmonic Leonard Bernstein
https://williamjamespercussion.com/th
156 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 4-Scene Measure beginning to reh M Reh #
Attributes Criteria Term meter 6/8 rhythmic 8th, 32nd notes technical stamina for length roll technical closed roll musical very soft year 1887
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor William James, Principal Percussion, St Louis Symphony 86 https://open.spotify.co Czech Philharmonic Orchestra Vladimir Valek 84 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 83 https://open.spotify.co New York Philharmonic Leonard Bernstein
https://williamjamespercussion.com/th
157 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 5-Fandango Measure 4 before reh Z to Reh # Presto
Attributes Criteria Term meter 3/4 tempo half = 145 - 150 bpm rhythmic half, dotted qtr, qtr, 8th notes technical two stroke drags technical closed rolls musical short crescendo rolls musical loud year 1887 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 88 https://open.spotify.co New York Philharmonic Leonard Bernstein 87 https://open.spotify.co Czech Philharmonic Orchestra Vladimir Valek 85 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy
158 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 5-Fandango Measure Reh W to end of Reh # coda
Attributes Criteria Term meter 3/4 and 2/4 tempo coda to end: half = 145 - 150 bpm tempo W to coda: dotted half = 64 - 75 bpm technical rolls with crescendo technical open ruffs musical 2/4 Coda is felt in 1 beat per bar musical tempo change at coda musical some conductors go faster at Presto Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 88 https://open.spotify.co New York Philharmonic Leonard Bernstein 87 https://open.spotify.co Czech Philharmonic Orchestra Vladimir Valek 85 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy
159 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 3 Measure reh D to E Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 76 bpm rhythmic 8th, 32nd notes technical 7 stroke open roll musical very soft year 1888
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Shaun Tilberg BSP video series 33 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov 30 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan 29 https://open.spotify.co New York Philharmonic Leonard Bernstein
https://www.youtube.com/watch?v=Sn
160 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 3 Measure reh D to E Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 76 bpm rhythmic 8th, 32nd notes technical 7 stroke open roll musical very soft year 1888
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Arthur 33 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov Press, Richard Brown, Daniel Florio, 30 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan Norm Fickett 29 https://open.spotify.co New York Philharmonic Leonard Bernstein
161
Reproduced with permission.
162
Reprinted with permission
163
164 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 3 Measure reh D to G Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 76 - 80 bpm rhythmic 8th, 16th, 32nd notes technical 7 stroke open roll technical open drags musical very soft year 1888
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Shaun Tilberg BSP video series 33 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov 30 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan 29 https://open.spotify.co New York Philharmonic Leonard Bernstein
https://www.youtube.com/watch?v=Sn
165 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 3 Measure reh D to G Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 76 - 80 bpm rhythmic 8th, 16th, 32nd notes technical 7 stroke open roll technical open drags musical very soft year 1888
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Arthur 33 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov Press, Richard Brown, Daniel Florio, 30 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan Norm Fickett 29 https://open.spotify.co New York Philharmonic Leonard Bernstein
166
Reproduced with permission.
167
Reprinted with permission
168
169 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 3 Measure reh D/F to G/H Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 76 - 80 bpm rhythmic 8th, 16th, 32nd notes technical open 7 stroke roll technical open drags musical soft year 1888
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Arthur 33 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov Press, Richard Brown, Daniel Florio, 30 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan Norm Fickett 29 https://open.spotify.co New York Philharmonic Leonard Bernstein
170
Reproduced with permission.
171
Reprinted with permission
172
173 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 3 Measure reh G to I Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 76 - 80 bpm technical qtr note roll has a 5-let pulse technical open drags technical closed roll musical rudimental musical soft year 1888 Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Arthur 33 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov Press, Richard Brown, Daniel Florio, 30 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan Norm Fickett 29 https://open.spotify.co New York Philharmonic Leonard Bernstein
174
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181 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 4 Measure 1 before reh C to D Reh #
Attributes Criteria Term meter 2/8 tempo qtr = 96 - 100 bpm rhythmic 8th notes technical closed rolls technical open drags musical mezzo forte to forte dynamic range musical sequence of short cresendos year 1888 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 34 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov 32 https://open.spotify.co New York Philharmonic Leonard Bernstein 31 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan
182 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 4 Measure four before reh M to Reh # R
Attributes Criteria Term meter 2/8 tempo qtr = 96 - 100 bpm technical open two stroke drags technical 8th and 16th notes musical very soft to loud
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Arthur 34 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov Press and Daniel Florio. 32 https://open.spotify.co New York Philharmonic Leonard Bernstein 31 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan
183 Excerpt from “A Pedagogy for Ten Standard Orchestral Percussion Excerpts,” by R. Richard MacDonald.
Reprinted with Permission
184
185
186
187
188
189
190 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 4 Measure Reh W to X Reh #
Attributes Criteria Term meter 2/8 tempo qtr = 96 - 100 bpm rhythmic 8th and 16th notes technical rolls musical trills are interpreted as single strokes
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 34 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov 32 https://open.spotify.co New York Philharmonic Leonard Bernstein 31 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan
191 Instrument Snare Drum Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 4 Measure RehM/P to U Reh #
Attributes Criteria Term meter 2/8 tempo qtr = 96 - 100 bpm rhythmic 8th, 32nd notes technical two stroke drags musical very soft to loud dynamic range musical loud year 1888
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Arthur 34 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov Press and Daniel Florio. 32 https://open.spotify.co New York Philharmonic Leonard Bernstein 31 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan
192 Excerpt from “A Pedagogy for Ten Standard Orchestral Percussion Excerpts,” by R. Richard MacDonald.
Reprinted with Permission
193
194
195
196
197
198
199 Instrument Snare Drum Title Composer Shostakovich MainTitle Symphony 10
Movement 2 Measure reh 98 to end Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 167 to 175 bpm rhythmic 8th and 16th notes technical counting rests technical rolls with cresendo technical loud roll musical aggressive musical loud Resources D/L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Shaun Tilberg explains the challenges playing this snare drum 46 https://open.spotify.co USSR State Academic Symphon Evgeny Svetlanov part 45 https://open.spotify.co Helsinki Philharmonic Orchestra James DePreist 44 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons
https://www.youtube.com/watch?time_
200 Closed Rolls Control
After getting really comfortable with those closed roll build-ups, you’re ready for some more advanced control exercises. The goal of this page is to attack specific challenges of fulcrum shifting and finger dexterity found in everyday playing. It’s not enough to simply practice your loud and soft rolls. In real-life applications you’ll need to be able to shift in and out of rolling during dense rhythmic passages, transition seamlessly across all dynamic levels and stop/start with either hand equally well.
Let’s begin with a common scenario: fast 16th note rhythms with rolls mixed in (e.g. Shostakovich Symphony Nos. 10 and 11). When 16th notes get above about 152bpm, it’s highly beneficial (and often necessary) to be able to shift our roll meter down one level into triplets.
Alternate your hands throughout the following exercise.
Practice Tips
You should remain loose in your arms, so as to avoid a drastic technique shift for the
‘buzzed’ notes. For the ‘Shosty Rolls’ exercise your goal should be triple-stroke based rolls.
201 Closed Rolls Control
This next exercise will challenge your fulcrum control with odd accents, short rolls and double- strokes. Try to focus the shifts of pressure into your middle and 3rd fingers. If you close down the middle or 3rd finger enough, you will be able to get buzz strokes without pinching the stick.
Rolls mixed with accents are a difficult skill to master. Try playing this exercise at pp, mf, and ff.
202 Triple-P (ppp) Shuffles
One of my all-time favorite percussion quotes:
Everyone eventually finds a way to fake it loud, but it’s almost impossible to fake it soft.
It’s true! We all come to find the real challenge of drumming long after we’ve gotten groovy with our flams and inverts. Playing an intricate soft passage -whether it’s Delécluse, Cirone or Lieutenant Kije- is far more difficult than most mf wrist twisting!
What can we do about it? Let’s start with continuing to train up those doubles. This technique is vitally important for success at the ppp level. We’ll need mastery of doubles to play all of those pesky 3-stroke roughs and open-stroke rolls we’ll encounter in excerpts like Lt. Kije and Sheherazade, as well as some of the famously difficult passages of the Delécluse etudes.
Do not play these below the marked tempo! You are working a specific technique: timing control of extremely soft/quick doubles.
203 Instrument Snare Drum Title Composer Shostakovich MainTitle Symphony 10
Movement 2 Measure six meas before reh Reh # 86 thru 3 meas before reh 87
Attributes Criteria Term meter 2/4 tempo qtr = 167 - 175 bpm rhythmic 8th and 16th notes technical long closed roll with crescendo technical rolls musical aggressive musical soft to loud
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Shaun Tilberg, Principal Percussion, Pheonix Symphony 46 https://open.spotify.co USSR State Academic Symphon Evgeny Svetlanov 45 https://open.spotify.co Helsinki Philharmonic Orchestra James DePreist 44 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons
204 Closed Rolls Control
After getting really comfortable with those closed roll build-ups, you’re ready for some more advanced control exercises. The goal of this page is to attack specific challenges of fulcrum shifting and finger dexterity found in everyday playing. It’s not enough to simply practice your loud and soft rolls. In real-life applications you’ll need to be able to shift in and out of rolling during dense rhythmic passages, transition seamlessly across all dynamic levels and stop/start with either hand equally well.
Let’s begin with a common scenario: fast 16th note rhythms with rolls mixed in (e.g. Shostakovich Symphony Nos. 10 and 11). When 16th notes get above about 152bpm, it’s highly beneficial (and often necessary) to be able to shift our roll meter down one level into triplets.
Alternate your hands throughout the following exercise.
Practice Tips
You should remain loose in your arms, so as to avoid a drastic technique shift for the
‘buzzed’ notes. For the ‘Shosty Rolls’ exercise your goal should be triple-stroke based rolls.
205 Closed Rolls Control
This next exercise will challenge your fulcrum control with odd accents, short rolls and double- strokes. Try to focus the shifts of pressure into your middle and 3rd fingers. If you close down the middle or 3rd finger enough, you will be able to get buzz strokes without pinching the stick.
Rolls mixed with accents are a difficult skill to master. Try playing this exercise at pp, mf, and ff.
206 Triple-P (ppp) Shuffles
One of my all-time favorite percussion quotes:
Everyone eventually finds a way to fake it loud, but it’s almost impossible to fake it soft.
It’s true! We all come to find the real challenge of drumming long after we’ve gotten groovy with our flams and inverts. Playing an intricate soft passage -whether it’s Delécluse, Cirone or Lieutenant Kije- is far more difficult than most mf wrist twisting!
What can we do about it? Let’s start with continuing to train up those doubles. This technique is vitally important for success at the ppp level. We’ll need mastery of doubles to play all of those pesky 3-stroke roughs and open-stroke rolls we’ll encounter in excerpts like Lt. Kije and Sheherazade, as well as some of the famously difficult passages of the Delécluse etudes.
Do not play these below the marked tempo! You are working a specific technique: timing control of extremely soft/quick doubles.
207 Instrument Snare Drum Title Composer W. Schuman MainTitle Symphony 3
Movement Toccata Measure meas 143 to 165/199 Reh #
Attributes Criteria Term meter cut time tempo half note = 90 - 95 bpm rhythmic 8th, 8th note triplet, dotted 8th-16th technical can be slight swing or strictly interpreted technical flams musical diminuendo musical slight cresendo musical soft Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 99 https://open.spotify.co Seattle Symphony Gerard Schwartz 98 https://open.spotify.co New York Philharmonic Leonard Bernstein
208 retrieval data entry form Instrument Tambourine Titl Composer Berlioz MainTitle Roman Carnival Movement Measure 9 measures after Reh # Reh 9 to the downbeat of Reh Attribute 10 Criteria Term meter 6/8 tempo dotted qtr = 160 - 180 rhythmic dotted qtr, qtr, 8th musical loud year 1844
Recording Resources tbl_recordings_IDSpotify URL Orchestra Conductor 37 https://open.spotify.co Boston Symphony Charles Munch 36 https://open.spotify.co Vienna Philharmonic Victor De Sabata 35 https://open.spotify.co Berlin Philharmonic Loren Maazel
209 Instrument Tambourine Titl Composer Berlioz MainTitle Roman Carnival Movement Measure Reh 3 to 8 Reh # measures after reh 3 Attribute Criteria Term meter 3/4 tempo qtr = 53 - 55 bpm rhythmic upbeat 16th notes rhythmic 16th notes musical soft year 1844
Recording Resources R tbl_recordings_IDSpotify URL Orchestra Conductor 37 https://open.spotify.co Boston Symphony Charles Munch The Logic of it All, by Anthony 36 https://open.spotify.co Vienna Philharmonic Victor De Sabata Cirone and Joe Sinai, pages 120- 35 https://open.spotify.co Berlin Philharmonic Loren Maazel 121. Library of Congress call # MT655 .C48 1977
210 Instrument Tambourine Title Composer Bizet MainTitle Carmen Suite 1
Movement Aragonaise Measure beginning to 7 (prelude to Act IV) Reh # before reh C
Attributes Criteria Term meter 3/8 tempo dotted qtr = 80 to 88 bpm rhythmic compound meter rhythmic 8th, 16th notes technical descrescendo musical waltz feel, one beat per measure musical loud to very soft
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 49 https://open.spotify.co London Festival Orchestra Cesare Cantieri 48 https://open.spotify.co Monte-Carlo Philharmonic Orche James dePriest 47 https://open.spotify.co Berlin Philharmonic Herbert von Karajan
211 Instrument Tambourine Title Composer Bizet MainTitle Carmen Suite 2
Movement Dance Boheme Measure entire Reh #
Attributes Criteria Term meter 3/4 tempo qtr = 115 - 127 bpm rhythmic dotted half, half, qtr, 8th notes technical shorthand notation technical shake roll technical thumb rolls, finger rolls musical very loud musical very soft Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 130 https://open.spotify.co New York Philharmonic Leonard Bernstein 129 https://open.spotify.co Russian Symphony Orchestra Lj Marko Munih 128 https://open.spotify.co Orchestre Philharmonique de Ra Loic Bertrand
212 Instrument Tambourine Title Composer Bizet MainTitle Carmen Suite 2
Movement Danse Boheme Measure 3 before D to 2 after Reh # F
Attributes Criteria Term meter 3/4 tempo qtr = 115 - 127 bpm rhythmic upbeat 8th notes rhythmic qtr technical thumb rolls technical finger rolls musical soft year 1887 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tim Adams, University of Georgia 130 https://open.spotify.co New York Philharmonic Leonard Bernstein 129 https://open.spotify.co Russian Symphony Orchestra Lj Marko Munih 128 https://open.spotify.co Orchestre Philharmonique de Ra Loic Bertrand
https://www.youtube.com/watch?v=fR
213 Instrument Tambourine Title Composer Britten MainTitle Peter Grimes
Movement Four Sea Measure reh 10 to 11 Interludes, Storm Reh #
Attributes Criteria Term meter 2/2 tempo half note = 60 - 70 bpm rhythmic half notes, qtr notes, 8th notes, technical finger rolls with a cres/descres technical soft finger rolls musical subtle dynamic hairpins musical very soft year 1944 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Christopher Deane - BSP Sound Solution Project: Masterclass #1 - 82 https://open.spotify.co Bournemouth Symphony Orches Richard Hickox Britten Four Sea Interludes 81 https://open.spotify.co BBC Philharmonic Orchestra Edward Gardner 80 https://open.spotify.co Flanders Symphony Orchestra Jan Lathan-Koenig 79 https://open.spotify.co London Symphony Orchestra Andre Previn https://www.youtube.com/watch?v=Ip
214 Instrument Tambourine Title Composer Chabrier MainTitle Espana
Movement Measure 20 after reh A to B Reh #
Attributes Criteria Term meter 3/8 tempo dotted qtr = 80 - 87 rhythmic 8th and 16th triplet technical accents technical hand knee musical wide dynamic spread
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 166 https://open.spotify.co Royal Philharmonic Orchestra Lo Frank Shipway 165 https://open.spotify.co Vienna Philharmonic John Eliot Gardner 164 https://open.spotify.co Detroit Symphony Orchestra Paul Paray
215 Instrument Tambourine Title Composer Chabrier MainTitle Espana
Movement Measure reh L to M/to the end Reh #
Attributes Criteria Term meter 3/8 tempo dotted qtr = 90 - 95 bpm rhythmic hemiola rhythmic 8th and 16th note triplet technical shake roll musical soft to loud crescendo
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 166 https://open.spotify.co Royal Philharmonic Orchestra Lo Frank Shipway 165 https://open.spotify.co Vienna Philharmonic John Eliot Gardner 164 https://open.spotify.co Detroit Symphony Orchestra Paul Paray
216 Instrument Tambourine Title Composer Dvorak MainTitle Carnival Overture
Movement Measure beginning to reh Reh # B/C or 4 before C
Attributes Criteria Term meter cut time tempo half note = 130 - 140 rhythmic qtr, 8th, 16th technical articulation of 8th notes technical tendency to rush qtr notes technical shake rolls musical crescendo musical soft and loud passages Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Tim Adams, University of Georgia 145 https://open.spotify.co Czech Philharmonic Orchestra Frantisek Stupka 144 https://open.spotify.co London Symphony Orchestra Barry Tuckwell 143 https://open.spotify.co New York Philharmonic Zubin Mehta
https://www.youtube.com/watch?v=fR
217 Instrument Tambourine Title Composer Dvorak MainTitle Carnival Overture
Movement Measure reh K to L Reh #
Attributes Criteria Term meter 3/8 tempo 8th note = 65 - 77 bpm technical dotted 16th, 32nd note musical waltz musical soft
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 143 https://open.spotify.co New York Philharmonic Zubin Mehta 144 https://open.spotify.co London Symphony Orchestra Barry Tuckwell 145 https://open.spotify.co Czech Philharmonic Orchestra Frantisek Stupka
218 Instrument Tambourine Title Composer Dvorak MainTitle Carnival Overture
Movement Measure reh Q to S/end Reh #
Attributes Criteria Term meter cut time tempo poco piu mosso: half note = 150 - 160 tempo half note = 130 - 140 technical loud shake roll technical whole, qtr, 8th notes, qtr note triplet technical hemiola technical hand knee musical crescendo musical soft to loud Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Dr. John Parks IV, Florida State University, Tambourine roll technique 145 https://open.spotify.co Czech Philharmonic Orchestra Frantisek Stupka 144 https://open.spotify.co London Symphony Orchestra Barry Tuckwell 143 https://open.spotify.co New York Philharmonic Zubin Mehta
https://www.youtube.com/watch?v=Rr
219 Instrument Tambourine Title Composer Dvorak MainTitle Carnival Overture
Movement Measure reh T/U to the end Reh #
Attributes Criteria Term meter 4/4 tempo half note = 150 - 160 bpm rhythmic syncopation rhythmic whole, qtr, 8th, qtr note triplet technical loud shake roll technical loud roll technical hemiola technical hand knee musical loud Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Dr. John Parks IV, Florida State University, Tambourine roll technique 145 https://open.spotify.co Czech Philharmonic Orchestra Frantisek Stupka 144 https://open.spotify.co London Symphony Orchestra Barry Tuckwell 143 https://open.spotify.co New York Philharmonic Zubin Mehta
https://www.youtube.com/watch?v=Rr
220 Instrument Tambourine Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 3 Measure reh F to G Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 76 - 80 bpm rhythmic qtr, 8th technical thumb roll, finger roll musical very soft
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 33 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov 30 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan 29 https://open.spotify.co New York Philharmonic Leonard Bernstein
221 Instrument Tambourine Title Composer Rimsky-Korsakov MainTitle Scheherazade
Movement 4 Measure reh F to G Reh #
Attributes Criteria Term meter 2/8 tempo dotted qtr = 72 - 88 rhythmic 16th note triplet technical tambourine on leg, played with fingers musical passage should be played as if in 3 musical dimuendo musical mezzo forte musical very soft Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 34 https://open.spotify.co St Petersburg Philharmonic Orch Yuri Temirkanov 32 https://open.spotify.co New York Philharmonic Leonard Bernstein 31 https://open.spotify.co Orchestre de la Suisse Romand Armin Jordan
222 Instrument Tambourine Title Composer Stravinsky MainTitle Petrouchka-1947 version
Movement Measure reh 201 to 206/207 Reh #
Attributes Criteria Term meter 6/8 reh 205 meter 2/4 reh 202 to 205 tempo qtr = 140 - 147 bpm rhythmic qtr, 8th notes technical shake rolls technical finger rolls technical thumb rolls year 1947 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 163 https://open.spotify.co Czech Philharmonic Orchestra Zdenek Kosler 162 https://open.spotify.co Boston Symphony Orchestra Seji Ozawa 161 https://open.spotify.co London Symphony Orchestra Rafael Fruhbeck de Bur
223 Instrument Tambourine Title Composer Stravinsky MainTitle Petrouchka-1947 version
Movement Measure reh 53 to 56 Reh #
Attributes Criteria Term meter 3/4 tempo qtr note = 128 -149 rhythmic qtr, 8th notes technical thumb roll with crescendo technical finger rolls technical thumb rolls
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 151 https://open.spotify.co RIAS Symphony Orchestra Ferenc Fricsay 150 https://open.spotify.co London Symphony Orchestra Claudio Abbado 149 https://open.spotify.co Czech Philharmonic Orchestra Zdenek Kosler
224 Instrument Tambourine Title Composer Tchaikovsky MainTitle Nutcracker Ballet
Movement Arabian Dance Measure entire Reh #
Attributes Criteria Term meter 3/8 tempo 8th note = 82 - 97 bpm rhythmic 8th, 32nd notes technical tambourine resting on leg played with fingers musical very soft
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 160 https://open.spotify.co London Symphony Orchestra Andre Previn 158 https://open.spotify.co Chicago Symphony Orchestra Claudio Abbado 156 https://open.spotify.co Berlin Philharmonic Mstislav Rostropovich
225 Instrument Tambourine Title Composer Tchaikovsky MainTitle Nutcracker Ballet
Movement Trepak Measure entire Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 161 - 164 rhythmic 8th, 16th notes technical shake roll technical hand knee technical articulation musical medium to loud
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Dr. John Parks IV, Florida State University, Tambourine roll technique 159 https://open.spotify.co London Symphony Orchestra Andre Previn 157 https://open.spotify.co Chicago Symphony Orchestra Claudio Abbado 155 https://open.spotify.co Berlin Philharmonic Mstislav Rostropovich
https://www.youtube.com/watch?v=Rr
226 Instrument Triangle Title Composer Brahms MainTitle Symphony 4
Movement 3 Measure entire Reh #
Attributes Criteria Term meter 2/4 tempo at letter I: qtr = 115 - 140 rhythmic 16th notes technical evenness of rolls technical clarity of 16th notes technical rolls musical loud
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 40 https://open.spotify.co Isreal Philharmonic Orchestra Zubin Mehta 39 https://open.spotify.co Berlin Philharmonic Herbert von Karajan 38 https://open.spotify.co New York Philharmonic Leonard Bernstein
227 Instrument Triangle Title Composer Dvorak MainTitle Symphony 9
Movement Measure entire Reh #
Attributes Criteria Term meter 3/4 rhythmic qtr, 8th notes technical dampening technical abbreviated notation technical 16th note rolls musical loud roll musical soft
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 43 https://open.spotify.co Baltimore Symphony Orchestra Marin Alsop 42 https://open.spotify.co American Symphony Orchestra Leon Botstein 41 https://open.spotify.co Royal Concertgebouw Orchestra Mariss Jansons
228 Instrument Triangle Title Composer Liszt MainTitle Piano Concerto 1
Movement Measure Allegro Marziale to K Reh #
Attributes Criteria Term meter cut time tempo qtr = 145 - 153 bpm rhythmic 8th, 16th notes technical dampening musical quick dynamic changes musical soft to loud musical abreviated notation year 1857 Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor James Campbell: 2016 Accessory Sound Solution Project 142 https://open.spotify.co RCA Victor Symphony Orchestra Alfred Wallenstein 141 https://open.spotify.co Boston Symphony Orchestra Seiji Ozawa 140 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy
https://www.youtube.com/watch?time_
229 Instrument Triangle Title Composer Liszt MainTitle Piano Concerto 1
Movement Measure Allegro vivace to reh Reh # F/H
Attributes Criteria Term meter 3/4 tempo qtr = 145 - 165 bpm rhythmic counting rests between entrances rhythmic 8th, 16th notes technical clarity of 16th note rhythm technical delicate touch year 1857
Resources L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor James Campbell: 2016 Accessory Sound Solution Project 139 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 138 https://open.spotify.co RCA Victor Symphony Orchestra Alfred Wallenstein 137 https://open.spotify.co Boston Symphony Orchestra Seiji Ozawa
https://www.youtube.com/watch?time_
230 Instrument Triangle Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 3-Alborada Measure entire Reh #
Attributes Criteria Term meter 2/4 tempo qtr - 114 - 130 bpm rhythmic 16th notes technical endurance technical consistency of sound technical rolls technical shorthand notation musical wide dynamic range year 1887 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 4 https://open.spotify.co New York Philharmonic Leonard Bernstein 3 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 2 https://open.spotify.co Seattle Symphony Orchestra Gerard Schwarz
231 Instrument Triangle Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 4-Scene Measure 15 after reh L to the Reh # 6/8
Attributes Criteria Term meter 6/8 technical consistent sustained sound technical long roll musical very soft year 1887
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 86 https://open.spotify.co Czech Philharmonic Orchestra Vladimir Valek 84 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 83 https://open.spotify.co New York Philharmonic Leonard Bernstein
232 Instrument Triangle Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 4-Scene Measure reh P to 9 after P Reh #
Attributes Criteria Term meter 6/8 tempo dotted qtr = 62 - 78 bpm rhythmic 8th, 16th note triplets technical dampening musical soft year 1887
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 84 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy 86 https://open.spotify.co Czech Philharmonic Orchestra Vladimir Valek 83 https://open.spotify.co New York Philharmonic Leonard Bernstein
233 Instrument Triangle Title Composer Rimsky-Korsakov MainTitle Capriccio Espagnole
Movement 5-Fandango Measure Reh V to end of Reh # coda
Attributes Criteria Term meter 2/4 coda to end meter 3/4 ltr V to coda tempo half note= 75 - 90 bpm at coda tempo dotted qtr = 63 - 74 bpm to the coda rhythmic half, qtr, 8th, 8th note triplet, 16th notes technical rhythmic precision technical dampening technical rolls musical coda (vivo) often is felt in 1 musical loud Resources year 1887
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 88 https://open.spotify.co New York Philharmonic Leonard Bernstein 87 https://open.spotify.co Czech Philharmonic Orchestra Vladimir Valek 85 https://open.spotify.co Philadelphia Orchestra Eugene Ormandy
234 Instrument Xylo Title Composer Bartok MainTitle Music for Strings, Percussion and
Movement 3 Measure beginning to reh 5/6 Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 61 - 63 bpm rhythmic qtr, 8th, 8th triplet, 16th, 16th triplet musical mezzo forte to piano range F6 year 1936
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 136 https://open.spotify.co Liszt Ferenc Chamber Orchestra Janos Rolla 135 https://open.spotify.co Berlin Philharmonic Herbert von Karajan 134 https://open.spotify.co Tapiola Sinfonietta Jean-Jacques Kantorow
235 Instrument Xylo Title Composer Copland MainTitle Appalachian Spring
Movement Measure entire Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 160 - 173 bpm technical shifting intervals technical double stops musical loud musical parallel fourths scale major tonality C year 1944 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 91 https://open.spotify.co Detroit Symphony Orchestra Antal Dorati 90 https://open.spotify.co London Symphony Orchestra Aaron Copland 89 https://open.spotify.co Minnesota Orchestra Eiji Oue
236 Instrument Xylo Title Composer Gershwin MainTitle Porgy and Bess
Movement Measure entire Reh #
Attributes Criteria Term meter 4/4 tempo qtr = 135 - 146 bpm rhythmic 16th notes technical difficult cross-sticking technical difficult doubling musical articulate and bright musical rag-time feel year 1935 Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor R. Richard MacDonald DMA dissertation. Contribution by Ted 115 https://open.spotify.co Houston Opera Orchestra John Demain Adkatz, Doug Howard, Fernando 114 https://open.spotify.co London Symphony Orchestra Sir Simon Rattle Meza, Jason Arkis, Norm Fickett 113 https://open.spotify.co Dallas Symphony Orchestra Andrew Litten
237
238 Instrument Xylo Title Composer Kabalevsky MainTitle Colas Breugnon
Movement Overture Measure reh 36 to 37 Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 132 - 138 bpm rhythmic 8th notes musical mezzo forte range F5 - D5 scale major tonality F
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Lee Vinson Colas Breugnon exercises 154 https://open.spotify.co Moscow Symphony Orchestra Vasily Jelvakov 153 https://open.spotify.co Hanover Radio Philharmonic Orc Adrian Prabava 152 https://open.spotify.co BBC Philharmonic Orchestra Vassily Sinaisky
239 Xylophone Colas Exercises W. Lee Vinson h = 90 - 136
1 b b - n n # Etc. 2 œ œ œ œ œ b b b œ œ œ œ œ œ œ n n n # & 4 œ œ œ œ - œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f L R L R L R L R L R L R L R L R L etc.
b > n # > Etc. 2 2 œ œ œ b bb œ œ œ œ œ œ œ œ n nn # œ œ œ œ & 4 œ œ œ œ b œ œ œ œ œ œ œ n œ œ œ œ œ œ œ f R R L R L R L R L R L R L R L R R L etc. > # > 3 2 œ œ bbbb œ œ œ œ œ œ nnnn # œ œ œ Etc. & 4 œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ f R L R R L R R L R L R L R L R L R L R L R R L etc. >œ œ >œ œ œ œ œ œ œ œ œ # œ 4 2 . œ œ œ œ œ . bb b . œ œ œ œ œ . nn n # œ œ Etc. & 4 . œ œ œ œ . b b . œ œ œ . n n f L R L R L R L R L R L R L R etc. 2 2 # # # Etc. 5 & b 42 . œ œ œ œ œb œ œ œ « « œ œ œ œ œ œ œ . n # ## œ œ œ œ F R L R L etc. R L R L R L R
10 9 (h = c 132) œ œ# œ œb 1 œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œb œ œ œ œ & b 4 Ó Œ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ œ œb
f 11 12 œb œ œ œ# œn œA œn œ œb œ œ œ œb œ œA œ ˙b œb œ œ œ œb œ œ œ œb œ œ œ œb œb œ œb œ# J J ! J & b J ‰ J ‰ ‰ ‰ ‰Œ ƒ sff 36 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ & b Œ F 37 œb œb œ œ œn œ œ œA œb œ œA œb œ œ œA œ œ & b J ‰Œ
57 58 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ‘‘‘ ƒ 59 60 œ œ œ œ œ œ œ œ œ 2 œ œ œb œ œ œ œ J œ œ J & b ‘‘‘ ‰Œ ‰Œ sffœ 2 œ œ œb œ œ œ œb œb œn J & b Œ ‰ŒÓ Ï sfff 240 Instrument Xylo Title Composer Kabalevsky MainTitle Colas Breugnon
Movement Overture Measure reh 9 to 12 Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 132 - 138 bpm rhythmic 8th notes technical note accuracy with chromaticism musical use of 8va range c5 to f#6 scale major
Resources D
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Lee Vinson Colas Breugnon exercises 154 https://open.spotify.co Moscow Symphony Orchestra Vasily Jelvakov 153 https://open.spotify.co Hanover Radio Philharmonic Orc Adrian Prabava 152 https://open.spotify.co BBC Philharmonic Orchestra Vassily Sinaisky
241 Xylophone Colas Exercises W. Lee Vinson h = 90 - 136
1 b b - n n # Etc. 2 œ œ œ œ œ b b b œ œ œ œ œ œ œ n n n # & 4 œ œ œ œ - œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f L R L R L R L R L R L R L R L R L etc.
b > n # > Etc. 2 2 œ œ œ b bb œ œ œ œ œ œ œ œ n nn # œ œ œ œ & 4 œ œ œ œ b œ œ œ œ œ œ œ n œ œ œ œ œ œ œ f R R L R L R L R L R L R L R L R R L etc. > # > 3 2 œ œ bbbb œ œ œ œ œ œ nnnn # œ œ œ Etc. & 4 œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ f R L R R L R R L R L R L R L R L R L R L R R L etc. >œ œ >œ œ œ œ œ œ œ œ œ # œ 4 2 . œ œ œ œ œ . bb b . œ œ œ œ œ . nn n # œ œ Etc. & 4 . œ œ œ œ . b b . œ œ œ . n n f L R L R L R L R L R L R L R etc. 2 2 # # # Etc. 5 & b 42 . œ œ œ œ œb œ œ œ « « œ œ œ œ œ œ œ . n # ## œ œ œ œ F R L R L etc. R L R L R L R
10 9 (h = c 132) œ œ# œ œb 1 œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œb œ œ œ œ & b 4 Ó Œ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ œ œb
f 11 12 œb œ œ œ# œn œA œn œ œb œ œ œ œb œ œA œ ˙b œb œ œ œ œb œ œ œ œb œ œ œ œb œb œ œb œ# J J ! J & b J ‰ J ‰ ‰ ‰ ‰Œ ƒ sff 36 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ & b Œ F 37 œb œb œ œ œn œ œ œA œb œ œA œb œ œ œA œ œ & b J ‰Œ
57 58 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ‘‘‘ ƒ 59 60 œ œ œ œ œ œ œ œ œ 2 œ œ œb œ œ œ œ J œ œ J & b ‘‘‘ ‰Œ ‰Œ sffœ 2 œ œ œb œ œ œ œb œb œn J & b Œ ‰ŒÓ Ï sfff 242 Instrument Xylo Title Composer Kodaly MainTitle Hary Janos Suite
Movement entire Measure entire Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 127 - 141 bpm rhythmic qtr, 8th, 16th technical triple acciaccatura technical trills scale modal, pentatonic year 1927
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 112 https://open.spotify.co Seattle Symphony Gerard Schwartz 111 https://open.spotify.co BBC Symphony Orchestra Zoltan Kodaly 110 https://open.spotify.co Chicago Symphony Orchestra Neeme Jarvi 109 https://open.spotify.co Philharmonia Hungarica Antol Dorati
243 Instrument Xylo Title Composer Kodaly MainTitle Hary Janos Suite
Movement Entrance of the Measure Beginning to reh 1 Emperor Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 127 - 141 bpm rhythmic qtr, 8th, 16th notes technical grace notes technical triple acciaccatura musical loud range E3 to E4 scale E flat tonality modal, pentatonic year 1927 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 112 https://open.spotify.co Seattle Symphony Gerard Schwartz 111 https://open.spotify.co BBC Symphony Orchestra Zoltan Kodaly 110 https://open.spotify.co Chicago Symphony Orchestra Neeme Jarvi 109 https://open.spotify.co Philharmonia Hungarica Antol Dorati
244 Instrument Xylo Title Composer Kodaly MainTitle Hary Janos Suite
Movement Entrance of the Measure reh 10 to end Emperor Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 127 - 141 bpm rhythmic 8th, 16th notes technical trills musical loud musical accelerando in last 3 measures range Db 5 to Bb 5 scale pentatonic tonality E flat year 1927 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 112 https://open.spotify.co Seattle Symphony Gerard Schwartz 111 https://open.spotify.co BBC Symphony Orchestra Zoltan Kodaly 110 https://open.spotify.co Chicago Symphony Orchestra Neeme Jarvi 109 https://open.spotify.co Philharmonia Hungarica Antol Dorati
245 Instrument Xylo Title Composer Messiaen MainTitle Oiseaux exotiques
Movement Measure 8 meas before reh Reh # 29 to 10 meas after reh 29
Attributes Criteria Term meter 4/8 tempo 8th = 130 bpm rhythmic 16th, 32nd notes technical large interval leaps range Eb4 to A6 year 1955-56
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 94 https://open.spotify.co Netherlands Wind Ensemble Reinbert de Leeuw 93 https://open.spotify.co Ensemble Intercontemporain Pierre Boulez 92 https://open.spotify.co Toronto Wind Orchestra Tony Gomes
246 Instrument Xylo Title Composer Messiaen MainTitle Oiseaux exotiques
Movement Measure Reh 4 to 5 Reh #
Attributes Criteria Term meter 3/8, odd tempo 8th = 130 bpm rhythmic 8th, 16th, 32nd notes technical grace notes, flams musical loud to soft to loud range Db4 to B6 year 1955-56
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 94 https://open.spotify.co Netherlands Wind Ensemble Reinbert de Leeuw 93 https://open.spotify.co Ensemble Intercontemporain Pierre Boulez 92 https://open.spotify.co Toronto Wind Orchestra Tony Gomes
247 Instrument Xylo Title Composer Messiaen MainTitle Oiseaux exotiques
Movement Measure reh 6 to 7 Reh #
Attributes Criteria Term meter 4/8 tempo 8th = 130 bpm rhythmic 8th, 16th, 32nd notes technical large leaps musical wide dynamic shifts year 1955-56
Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 94 https://open.spotify.co Netherlands Wind Ensemble Reinbert de Leeuw 93 https://open.spotify.co Ensemble Intercontemporain Pierre Boulez 92 https://open.spotify.co Toronto Wind Orchestra Tony Gomes
248 Instrument Xylo Title Composer Shostakovich MainTitle The Golden Age
Movement Polka Measure entire Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 88 - 92 bpm rhythmic qtr, 8th, 16th notes technical octave and 9th interval leaps musical loud range G3 - Ab5 year 1930
Resources D/L
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Lee Vinson 102 https://open.spotify.co Moscow Chamber Orchestra Constantine Orbelian 101 https://open.spotify.co Seattle Symphony Gerard Schwartz 100 https://open.spotify.co Boston Pops Arthur Fiedler
http://www.leevinson.com/music
249 Xylophone Polka Exercises
W. Lee Vinson q = c 84 j 1 b b n n # bœ Etc. 2 œ œ œ œ œ bœ b b b œ œ œ œ œ œ œ nœ n n n # œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œb œ œ œ œ œn œ œ œ œ œb L R L R L R etc. > > > f > >j > > b n # bœ Etc. 2 2 œ œ œ œ œ œ bœ b bb œ œ œ œ œ œ œ nœ n nn # œ œ œ œ œ œ œ & 4 œ œ œ œ œb b œ œ œ œ œn n œ œ œ œ œb œ L R L R œL R etc. œ > f
2 œ b b œ œ œ n n # œ œ œ Etc. 3 & 4 œ œ œ œ ‘ b b b œ œ ‘ n n n # œ œ ‘ œ œ œ > > > f L R L R L R etc.
4 2 œ b œ n # œ Etc. & 4 œ œ œ b bb œ œ œ œ n nn # œ œ œ œ œ œ ‘ b œ ‘ n œ ‘ > > > f L R L R L R etc. 2 2 œ b œ n # Etc. 5 b 2 œ œ œ b bb œ œ œ n nn # & 4 « b œ œ œ œ œ « n œ œ œ œ œ > f >L R L R L R R L R etc. œ b œ n # œ n 6 b 3 œ œ œ b bb œ œ œ n nn # œ œ œ n 2 Etc. & 4 ‘ b œ œ œ œ ‘ n œ œ œ œ ‘ 4 œ œ œ œ > > f >L R L R L R R L etc. The Age of Gold BALLET SUITE
No 3 Polka 45 Allegretto. = 84 D. Schostakowitsch, Op. 22 q Solo 5 2 >œ œ œ œ œ œ œ œ & 4 Œ‰ œb œN œ œb œN œ œb œb œN œb J œ œb œ œb f 46 > > > œb œ œ œb œ œ œ & œN œ œN œ œb œN œ œ œb œn œ œ œ œ# œ œ œ œ œ œ# œ
55 Solo œ œ œ œ œ œ œ œ œ & Œ œb œN œ œb œN œ œb œ œ
f 56 œ œ# œ œb œb œ U 6 œ & œ œ# œ Œ ‰ J œb œ œb œ œ ƒ
250 Instrument Xylo Title Composer Stravinsky MainTitle Firebird-1911 version
Movement Measure reh 127-133 Reh #
Attributes Criteria Term meter 2/4 tempo qtr = 135 - 150 bpm rhythmic 8th, 16th notes technical counting rests technical steady 16th notes range D4-C#6 scale chromaticism scale major tonality A year 1910 Resources
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor 108 https://open.spotify.co Chicago Symphony Orchestra Pierre Boulez 107 https://open.spotify.co Moscow RTV Symphony Orchest Algis Zhuraytis 106 https://open.spotify.co Columbia Symphony Orchestra
251 Instrument Xylo Title Composer W. Schuman MainTitle Symphony 3
Movement Toccata Measure Measure 230-244 Reh #
Attributes Criteria Term meter 4/4 tempo half note = 90- 95 bpm rhythmic qtr, 8th, dotted 8th-16th, 8th note triplet technical interval leaps abruptly change direction technical difficulty in maintaining octaves technical parallel octaves, double stops musical played as written and as swing range d4 - g6 scale major tonality G Resources D/L year 1941
Recordings tbl_recordings_IDSpotify URL Orchestra Conductor Lee Vinson 99 https://open.spotify.co Seattle Symphony Gerard Schwartz 98 https://open.spotify.co New York Philharmonic Leonard Bernstein
http://www.leevinson.com/music
252 Xylophone
Practice each exercise three ways: New Schuman 3 Exercises 1.) right hand alone 2.) left hand alone W. Lee Vinson 3.) both hands together
h = 80 - 96 1 4 b b Etc. & 4 œ œ œ. œ œ œ œ. œ œ. œ œ œ b b b œ œ œ. œ œ. œ œ. œ œ. œ . œ. œ . œ. œ . œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ . œ. œ
b Etc. 2 &4 œ. œ. œ œ œ. b bbb œ œ. œ œ. œ œ. œ œ œ. œ œ. œ œ. œ œ œ. œ œ. œ œ. œ œ. œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ. œ
3 4 œ œ œ# œ Etc. & 4 œ# . œ œ œ. œ œ ‘ œ. œ œ. œ ‘ œ# . œ# œ. œ ‘
4 4 Œ Œ œ Œ Etc. & 4 œ. œ œb . œb œ ‘‘‘ œ# . œ# œ. œ œ# ‘‘‘ œ. œ œb . œ
William Schuman SYMPHONY No. III. in Two Parts d) Toccata (four Movements) Fl. Leggiero h = 108 - 112 (h = c. 88) (lower octave optional) Oboe w ˙ ˙ 2 10 2 ˙ ˙b 3 œ. œ œ œ C c Œ œ œ Œ œ œ #œ & œ œ. œ œ œ# 212 222 227 F j œ œ. j œ #œ. œ œ œ #œ œ. œ œ œ œ. œ nœ bœ œ. œ nœ œ. œ ‰ œ œ . œ œ ‰Œ œ. œ œ. ‰ & œ. œ œ œ# . œ œ# œ œ J œ œn œb œ. œ œn 232 nœ œ . œ #œ. œ #œ nœ. bœ. bœ nœ nœ œ. œ œ œ. œ œ. œ #œ œ# œ# œn œn œb . œb œ œn . œn œ œ œ & Œ œ# œ . œ J ‰Œ . J ‰Œ . œ œ ‰Œ œ. œ . 237 J
. œ #œ œ 3 œ œ. œ# . œ œ œ œ œ œ œ# . œ. œ# œb . œ. œ œ# œ œ œ œ œ œ œ# œ# œ œb bœ J ‰ŒÓ œ œ 3 3 ‰ŒÓ & œ œ 3 œb 3 242 J √ (lower octave >. √ > ad lib.) œ . 385 #œ bœ . 2 œ >. #œ #œ > > œ œ œ œ œ# œ# œ# œ œ. #œ #œ. & C œb œ‰ŒÓ ∑ œ ‰Ó ∑ ŒÓ ∑ œ‰ŒÓ # œ ‰ŒÓ 3 œ œ# 3 380 J 3 Ï 3 390 n>œ . √ œ > œ. > . b>œ œ. >. >. . >. >. . . ∑ œ œn ‰ŒÓ œ ‰ŒÓ œ œ ‰ŒÓ œb ‰ŒÓ ##œ ‰‰ŒÓ 4 #œ. œ œ ‰Œ œ œ œ & œ 3 4 3 œ œ J 3 œ 395 J 3 3 3 Ï (√) >. >. >. >. >. >. >. > œ œ œ œ œ œ œ #œ. >œ. >œ. >œ. b>œ. >œ. >œ. >. >. >. >œ. œ. >œ. œ œ œ bœ œ œ & œ. œ œ Œ œ ‰ œ œ œ œ# ‰ œ œ œ œb œ. œ ≈ ‰ œb œ. œ ≈ ‰ 3 J 3 J 3 253R R REFERENCES
Alford, Eugene. ”Identification of Percussion Performance Techniques in the Standard Orchestral Percussion Repertoire,” (DMA Diss., University of Oklahoma, 1983). ProQuest Dissertations and Theses Global.
Beck, John. R. (1999). “Non-orchestral auditions." Percussive Notes 37, no. 4 (August 1999): 10-12. Accessed August 22, 2016. http://publications.pas.org/archive/Aug99/Articles/99.08.10-12.pdf.
Bello, Juan Pablo. “Audio-Based Cover Song Retrieval Using Approximate Chord Sequences: Testing Shifts, Gaps, Swaps and Beats.” Presentation. 8th International Society for Music Information Retrieval Conference (ISMIR 2007), Vienna, Austria, September 2007. Accessed August 18, 2016. https://drive.google.com/file/d/0B2SQvWn0_78BSEZ2bUJXbF9CSmM/view?pref=2&pl i=1.
Been Karrie R. “Collection of Folk Songs and a Kodály-Based Curriculum for use in Keyboard Training in the General Music Classroom - Grade 5.” Master’s thesis, Silver Lake College, 2000. Accessed August 9, 2016. ProQuest Dissertations and Theses Global.
Bero, Amy, J. “The Development of an Instrumental Method Book for Bb Clarinet Using Aspects of the Kodály Method.” Master’s thesis, Silver Lake College, 1990. Accessed August 9, 2016. ProQuest Dissertations and Theses Global.
Bick, Donald. “So You Want To Be an Orchestral Percussionist.” Percussive Notes 22, no. 2 (January 1984): 28-32. Accessed August 22, 2016. http://publications.pas.org/archive/8401/articles/8401.28-30.pdf.
Choksy, Lois. The Kodály Context: Creating an Environment for Musical Learning. Englewood Cliffs, NJ: Prentice-Hall, 1981. Cirone, Anthony J. On Musical Interpretation in Percussion Performance: A Study of Notation and Musicianship. Galesville, MD: Meredith Music Publications, 2008.
Cirone, Anthony J. and Sinai, Joseph. The Logic of it All: Professional Secrets Applying Imagination to Percussion Techniques. Menlo Park, CA: Cirone Publications, 1977.
Ellis, D.P.W. and G.E. Poliner. “Identifying ‘Cover Songs’ with Chroma Features and Dynamic Programming Beat Tracking. Presentation. International Conference on Acoustics, Speech, and Signal Processing (ICASSP), Honolulu, HI, April 2007. Accessed August 12, 2016. https://www.ee.columbia.edu/~dpwe/pubs/EllisP07-coversongs.pdf.
Holy Names University, Kodály Center, American Folk Song Collection, Holy Names Curriculum Introduction. Accessed August 3, 2016. http://Kodály.hnu.edu/introduction.cfm.
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James, William. “Auditions: Looking Beyond the Notes.” Percussive Notes 48, no. 5 (September 2010): 24-25. Accessed August 22, 2016. http://publications.pas.org/archive/Sept10/1009.40-41.pdf.
Jaquette, William. “A Kodály Based Beginning Band Method.” Master’s thesis, Silver Lake College, 1995. Accessed August 9, 2016. ProQuest Dissertations and Theses Global.
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