Timpani & Percussion Excerpts

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Orchestral Excerpt List Timpani & Percussion Please prepare ONE excerpt from each of the following disciplines – Timpani, Snare Drum and Tuned Percussion. There are four in each category to choose from and you should select the excerpts that best demonstrate your level of playing. We would encourage you to play these excerpts to your tutor prior to your audition. Reproduced for NYOS Audition Purposes Only Orchestral Excerpts - Timpani For NYOS Audition Purposes Only Mozart: Symphony No. 39 - 1st Mvt., opening Tchaikovsky: Symphony No. 4 - 1st Mvt., Bars 331-352 Orchestral Excerpts - Timpani For NYOS Audition Purposes Only Beethoven: Symphony No. 5 - 3rd Mvt. (Figure C)-4th Mvt. (Figure A) Orchestral Excerpts - Timpani For NYOS Audition Purposes Only Bartok: Music for Strings, Percussion, and Celeste - 2nd Mvt., 300-338 Please prepare both excerpts Orchestral Excerpts - Timpani For NYOS Audition Purposes Only Bars 359-394 Orchestral Excerpts - Snare For NYOS Audition Purposes Only Rossini: The Thieving Magpie Overture – Bars 1-17 Prokofiev: Peter and the Wolf - Figure 49-51 Orchestral Excerpts - Snare For NYOS Audition Purposes Only Ravel: Miroirs - No. 4, Alborado del Gracioso, Figure 21-end Orchestral Excerpts - Snare For NYOS Audition Purposes Only Nielsen: Symphony No. 5 - 1st Mvt., Figure 34-end Orchestral Excerpts - Tuned For NYOS Audition Purposes Only Saint-Saens: Dance Macabre – Four after Figure B-C Xylophone; please prepare both excerpts 7 before H Tchaikovsky: Sleeping Beauty - No. 6 Waltz Glockenspiel Orchestral Excerpts - Tuned For NYOS Audition Purposes Only Copland: Rodeo - Hoe Down, Figure 19-end Xylophone; please prepare top line only; observe a short pause between Figure 20 & 21 Orchestral Excerpts - Tuned For NYOS Audition Purposes Only Shostakovich: Cello Concerto No. 2 - 3rd Mvt., Figure 100-101 Xylophone.

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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).
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Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
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Cello Concerto in B Minor, Op. 104 ANTONÍN DVORÁK
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Rep List 1.Pub
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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.
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