Timpani and Percussion 2019

Total Page：16

File Type：pdf, Size：1020Kb

timpani / percussion audition repertoire and orchestral excerpts Master of Music (Orchestral Performance) Audition works: Candidates are required to perform two solo pieces as follows: 1. Solo snare drum piece (2-3 minutes long), to be choose from: jacques delecluse 12 Studies for Snare or similar 2. Timpani solo piece (2-3 minutes long) to be chosen from: elliott carter Eight Pieces for Four Timpani or Own choice of mallet keyboard solo All candidates must supply sheet music of their solo repertoire. Please ensure repertoire is of a suitable standard. Composer Work Page Timpani bartók Concerto for Orchestra 3 Excerpt 1 tchaikovsky Symphony no. 4 Excerpt 1 4 mozart Die Zauberflöte Excerpt 1 5 Snare Drum prokofiev Peter and the Wolf 6 Excerpt 1 rimsky-korsakov Scheherazade Excerpt 1 7 Excerpt 2 8 Xylophone copland Appalachian Spring: Suite 9 Excerpt 1 kabalevsky Colas Breugnon: Overture 10 Excerpt 1 shostakovich The Golden Age: Polka 11 Excerpt 1 Vibraphone higdon On a Wire Excerpt 1 12 Excerpt 2 13 Glockenspiel dukas L’apprenti Sorcier 14 Excerpt 1 Tambourine dvořák Carnival 15 Excerpt 1 Triangle liszt Piano concerto no. 1 16 Excerpt 1 Cymbals tchaikovsky Romeo and Juliet 17 Excerpt 1 Bass drum mahler Symphony no. 3 18 Excerpt 1 2 bartók Concerto for Orchestra Timpani IV. Intermezzo interrotto excerpt 1 Calmo [ ] 3 tchaikovsky Symphony no. 4 in F minor, op. 36 Timpani First Movement excerpt 1 Moderato assai, quasi Andante [ ] 4 mozart Die Zauberflöte, KV.620 Timpani Overture excerpt 1 Allegro [ ] Please note that this excerpt may be played on modern pedal drums (rather than hand-tuned Baroque or Classical instruments) 5 prokofiev Peter and the wolf, op. 67 Snare Drum excerpt 1 L’istesso tempo (q = 100) Please note that all multiple-bar rests in the original have been rewritten as two bars of rest in this excerpt. 6 rimsky-korsakov Scheherazade, op. 35 Snare Drum Third movement excerpt 1 Andantino quasi allegretto 7 Fourth movement excerpt 2 vivo 8 copland Appalachian spring: Suite Xylophone excerpt 1 Presto (h = 92) 9 kabalevsky Colas Breugnon: Suite from the opera Xylophone Overture excerpt 1 Presto (in one) 10 shostakovich The golden age, op. 22: Polka Xylophone excerpt 1 Allegretto (q = 84) 11 higdon On a wire Vibraphone excerpt 1 q = 120-128 12 excerpt 2 (q = 120 - 128) [ ] 13 dukas L’apprenti Sorcier Glockenspiel excerpt 1 Scherzo 14 dvořák Carnival Tambourine Overture excerpt 1 Allegro * *No repeat [ 15 liszt Piano Concerto no. 1 in E flat Triangle excerpt 1 Allegretto vivace 16 tchaikovsky Romeo and Juliet Cymbals Overture excerpt 1 Allegro Giusto Play straight through 17 mahler Symphony no. 3 in D minor Bass Drum First movement excerpt 1 Kräftig. Entschieden. [ ] end of orchestral excerpts 18 .

Copy Link

Recommended publications

The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
[Show full text]
Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion.” With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in a wide range of sizes and models to completely satisfy the needs of beginners, schools, universities and professionals. With a choice of hammered copper, smooth copper or fiberglass bowls, Ludwig Timpani always deliver the full rich sound that generations of timpanists have come to expect from Ludwig.
[Show full text]
Ludwig Musser Concert Percussion 2013 Catalog
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals.
[Show full text]
Land- En Volkenkunde
Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
[Show full text]
Percussion Repertoire
1 Percussion Repertoire Compiled by Colby Snider from the lists of Dr. Julie Hill, Dr. Josh Smith, and Professor James Campbell Instrument Key Difficulty Key Concert CSD 1 and 2 Beginner Snare Drum DS Drumset 3 Beginner - Intermediate Drumset DSC 4 Intermediate Combo General GP 5 Intermediate - Advanced Percussion M Marimba 6 Advanced Marimba and MF 7 Extremely Advanced Flute Multi MP N/A Not Applicable Percussion Marimba and Various - Applies to MTU V Tuba collections of pieces. Rudimental RSD MB Method Book Snare Drum SD Snare Drum T Timpani V Vibraphone World WP Percussion XY Xylophone 2 Composer Title Instrument Difficulty A Dream of the Cherry 5 Blossoms Frogs 3 Itsuki Fantasy for Six 7 Mallets Little Windows 4 Kazak Lullaby 5 Abe, Keiko Marimba D'Amore M 6 Michi 5 Prism 4 Prism Rhapsody 6 Variations on Japanese 5 Children's Songs Wind in the Bamboo Grove 5 Aiello, Joseph Classic African T 4 Airto The Spirit of Percussion GP MB From My Little Island 5 Aldridge, Robert M Zoo Animals 6 Advanced Etudes for Snare Aleao, Keith CSD V Drum Alfieri, John Pereginations MP 5 Andriessen, Louis Woodpecker M 6 Appice, Carmen Realistic Rock DS MB Asia, Daniel Marimba Music M 5 B Bach, C.P.E. Solfeggietto M 3 3 Cello Suite No. 1 in G Major 4 Cello Suite No. 2 in D Minor 5 Cello Suite No. 3 in C Major 4 Partita No. 1 4 Partita No. 3 4 Bach, J.S. Prelude in Bb Major M 4 Prelude to Suite No. 1 for 3 Cello Sonata No.
[Show full text]
Acknowledgments
ACKNOWLEDGMENTS I would like to acknowledge and express my sincerest thanks to the many people without whom the completion ofthis document would have been impossible: My wife, Amy, whose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of "quality time" with their dad, which rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of which he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research which concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convention. Craig Young, for the many times he helped me find what I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university's band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Kellerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions ofpieces which represented the core ofmy research. My father-in-law, Dr. L. R.
[Show full text]
Evolution of the Japanese Marimba ~A History of Design Through Japan's 5 Major Manufacurers~
Fujii Database vol.2 Evolution of the Japanese Marimba ~A History of Design Through Japan's 5 Major Manufacurers~ By Mutsuko Fujii and Senzoku Marimba Research Group November 2009 Fujii Database vol.2 Evolution of the Japanese Marimba ~ A History of Design Through Japan’s Five Major Manufacturers By Mutsuko Fujii and Senzoku Marimba Research Group In 2006, the first “Fujii Database of Japanese Marimba Works,” a survey of Japanese marimba pieces, was released by Mutsuko Fujii and the Senzoku Marimba Research Group and donated to the PAS archive. Since then, we hoped to make another report on the history of Japanese keyboard percussion - including concert xylophones and marimbas. Between 2002 and 2005, the Senzoku Marimba Research Group and I visited the presidents or heads of the five named companies directly and heard about the history of development to date. We have compiled the information in this database. We are delighted to announce the second report as “Fuji Database of the Evolution of the Japanese Marimba ~ A History of Design Through Japan’s Five Major Manufacturers.” The database is a list of Japanese concert xylophones and marimbas sorted by year of manufacture as reported by Japan’s top five keyboard percussion makers. (Only models undergoing major changes are listed due to space limitations.) Quite a few years ago, each firm had manufactured a portable xylophone – a simple, handy instrument with only a keyboard for playing on a table top - before starting to create concert xylophones and marimbas. This was directly related to the Japanese school education concept. In 1947, the Japanese Ministry of Education directed all domestic elementary schools to use the xylophone as a pedagogical instrument based on guidelines taken from the Fundamental Education Act.
[Show full text]
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument.
[Show full text]
The Angklung of Southeast Asia
Can You Shake It? The Angklung of Southeast Asia By Professor Kuo-Huang Han School of Music Northern Illinois University Angklung is a popular bamboo musical instrument in Southeast Asia. It is the easiest instrument to play: you just shake it. It is now widely used in music education. In this article, you will be informed about the background, usage, and playing methods of this instrument. A. Bamboo in Asia Bamboo is a type of plant of the grass family. There are about 75 genera and approximately 1000 species in the world. Asia, especially Southeast Asia and the Far East, has the major concentration of bamboo production. In fact, the word "bamboo" came from a Malay term, "bambu", which originally described the crackling sound of burning bamboo: "bam"! "bu"! Bamboo seems to grow everywhere in these regions. It is one of the most important materials in many Asian peoples’ daily lives. It is also a symbol of good luck and an essential part in their spiritual lives. 1. Material Culture Bamboo is strong but light and elastic. Throughout the ages, it has been used for a great variety of purposes. It is used as building material for houses, fences, bridges, irrigation pipes, bulletin boards, tables, chairs, and beds. It is also used as a carrying pole, a walking stick, chopsticks, water containers, cups, pencil holders, bow and arrows, etc. Split bamboo is used for weaving nets, hats, baskets, and umbrellas. Finally, bamboo shoots and bamboo seeds can be eaten. Bamboo pulp fibers were used to make paper. In ancient times, bamboo slips were used for carving characters.
[Show full text]
Indoor Percussion Invitational
Zionsville Community High School Indoor Percussion Invitational March 10, 2018 $@DI@:88IG<EK<I KN<EKPP<8I 4@FEJM@CC<I<J@;<EKJ FG<E<;K?<;FFIJ8K =@M<K?@IKP?FD<@E FD9@E@E>$@DJ NFF;NFIB@E><OG<I@<E:<8E;I@:8JCFM<F= G8@EK@E>=LIE@KLI< K?<P:FCC89FI8K<KF 9I@E>LE@HL<=LIE@KLI<N@K?9<8LK@=LC =@E@J?<JKFK?<JKFI<CF:8K<;8K(FIK? '8@E-KI<<K FE4@FEJM@CC<J?@JKFI@:9I@:B JKI<<K 1?8K<CJ<N@CCPFL=@E;@EJ@;< "FD<;<:FI #E;@8E8:I8=K<;:8E;C<J N8CC ?8E>@E>J J8CM8><;G@<:<J E8LK@:8C@K<DJ 8E;DL:?DFI< 1<K<8:?'@JJ'LJK8I;-<<;¶J'@CB*8@EK NFIBJ?FGJN?<I<PFLN@CCC<8IEK?< GIFG<ID<K?F;JF=D@O@E> 8GGCP@E> 8E; =@E@J?@E>D@CBG8@EK 8JG<:@8CKP =LIE@KLI<G8@EK 1<=FID8KFLI:C8JJ<JKF @E:CL;<8CCK?<98J@:D@CBG8@EK @E=FID8K@FE8CFE>N@K?FLI:LJKFDK@GJ KI@:BJ8E;K<:?E@HL<JLJ<;KF=@E@J?K?< G@<:<J@EFLIJKFI< = 1<?FG<KFJ<<PFLJFFE@EFE<F=FLI'@JJ 'LJK8I;-<<;¶J'@CB*8@EK:C8JJ<J =@M<K?@IKP?FD<@J8E<:C<:K@:D@OF= =LIE@J?@E>J8E;;<:FI IFDK?<:LIM<; C@E<JF=8 I<E:?JKPC<:?<JKKF8ILJK@: 8><;GFKK@E>9<E:? N<?8M<8C@KKC<JFD<Ǧ K?@E>=FI<M<IPFE< (<<;8K89C< 9L==<KFI 9FFBJ?<C=?8E:<J8I< @=N<;FEK?8M< FE<@EK?<JKFI<8CI<8;P N<:8EKI8:B JFD<K?@E>;FNELJ@E>K?<@E=FID8K@FE GIFM@;<;9PPFL@EFLIN@J?C@JK9FFB -KFG@EKF;8P ͖͔Ǥǡȁ͕͗͛Ǧ͙͚͛Ǧ͕͛͛͜ȁǦ͕͔Ǧ͙ǡ͕͖Ǧ͘ȁƤǤ Welcome to the ZCHS Percussion Invitational />Liv ÌiÌÃ 7iVivÀÌ i*č*ÀiÃ`iÌ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°4 / i`>>*iÀVÕÃÃčÃÃV>Ì* Ã« Þ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°È *č >À`v ÀiVÌÀÃ °°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° 8 7iVivÀÌ i<ÃÛi ÌiÃÌ À`>ÌÀ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10 <ÃÛi >` ÃÌiÀ >À`°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10
[Show full text]
The Percussion Family
The Percussion Family The percussion family is the largest family in the orchestra. Percussion instruments include any instrument that makes a sound when it is hit, shaken, or scraped. It's not easy to be a percussionist because it takes a lot of practice to hit an instrument with the right amount of strength, in the right place and at the right time. Some percussion instruments are tuned and can sound different notes, like the xylophone, timpani or piano, and some are untuned with no definite pitch, like the bass drum, cymbals or castanets. Percussion instruments keep the rhythm, make special sounds and add excitement and color. Unlike most of the other players in the orchestra, a percussionist will usually play many different instruments in one piece of music. The most common percussion instruments in the orchestra include the timpani, xylophone, cymbals, triangle, snare drum, bass drum, tambourine, maracas, gongs, chimes, celesta, and piano. The piano is a percussion instrument. You play it by hitting its 88 black and white keys with your fingers, which suggests it belongs in the percussion family. The piano has the largest range of any instrument in the orchestra. It is a tuned instrument, and you can play many notes at once using both your hands. Within the orchestra the piano usually supports the harmony, but it has another role as a solo instrument (an instrument that plays by itself), playing both melody and harmony. Timpani look like big polished bowls or upside-down teakettles, which is why they're also called kettledrums. They are big copper pots with drumheads made of calfskin or plastic stretched over their tops.
[Show full text]
2016-2017 Audition Information Percussion - Philharmonic Orchestra
2016-2017 Audition Information Percussion - Philharmonic Orchestra AUDITION SITE DETAILS What to bring • solo and excerpt music provided in this packet • xylophone mallets, snare sticks, timpani mallets What not to bring • wood or hard plastic mallets (we are in a small room, so medium-soft or hard rubber mallets would be best) • personal instruments or stands, including snare drums — we are on a very tight schedule, and in order to move as quickly as possible, we will require all candidates to use the instruments already in the room What is provided • extra music; if you have markings in your own music, you should bring your own copy • mallets and sticks, but we encourage you to bring what you are used to using • 3-1/2 octave rosewood xylophone (Yamaha) • 5x14” aluminum snare drum, cable and wire snares (Pearl) • set of two timpani, copper, balanced action pedals (Yamaha) • music stands • tuning fork (A=440) Warm-up room There will be a warm-up room that you will be allowed to use ten minutes prior to your audition. There will be a 3-1/2 octave kelon xylophone and a 5x14” metal snare drum in the room. Timpani will NOT be available in the warm-up room. PERCUSSION AUDITION REQUIREMENTS 1. Solo Piece You are required to prepare a solo piece on the xylophone and the snare drum (included in packet). Your solo piece need not be memorized. With your solo and/or your prepared excerpt(s), you may be asked to play it again in a different manner (slower, faster, more lyrically, etc.).
[Show full text]