Fall 2018 Percussion Auditions for the Instrumental Ensemble

Pools.

IO minute auditions will be held during the first week of classes. Evaluating the performances will be J. B. Smith, Jeffery Meier, Gary Hill and Jason Casfor. Audition sign-up will be administered on-line through the ensemble website:

https: //music.asu .ed u/node/2602

Ensemble Selection and Rehearsals

Following auditions, in consultation with studio faculty members, conductors will assign all students to ensembles. There will be three pools of percussionists, one rehearsing on Mondays, Wednesdays and Fridays from 1-2:45 with the symphony orchestra and wind orchestra, one on Tuesdays and Thursdays from 1-3 with the wind ensemble and the other on Tuesday and Thursday evenings from 7:30-9 with the Concert Band.

Course Registration

Those placed in orchestra or wind ensemble should register for Topic: Wind Ensemble or Wind Orchestra, MUP 442 (undergraduates students) or MUP 542 (graduate students). Concert Band students should register for Topic: Concert Band MUP 494 or 598. In most cases, students should elect "one hour" of credit: however, those students wishing to participate in multiple sections of each project period (e.g., orchestras and wind bands) may elect two hours, if their overall course load permits. Following the August audition period, students will be advised to "drop" or "add" an hour, as determined by their ensemble assignments.

Audition Repertoire

Snare: Sergei Prokofiev: Lieutenant Kije Movement I: Rehearsal Number 13 - END

Xylophone: Igor Stravinsky: Petrouchka ( 1947 version) 80-81 and I after Rehearsal Number 88 - 2 before Rehearsal Number 91

Bells:

Ottorino Respighi: Pines of Rome, orchestra bells from beginning through rehearsal number 9

Timpani: Jean Sibelius: Finlandia E-1

Tambourine: Igor Stravinsky: Petrouchka ( 1947 version) 3 after Rehearsal Number 20 I - I after Rehearsal Number 206

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Recommended Tempo:General Style:

Recommended Mallets:

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I m portant Considerationsrhe rolls in measure 95 can be played separately or tied; both are acceptable. Timpanists will often perform

:hese rolls separately. However, for auditions you should be prepared to perform this both ways. Keep in mind

:frat the sforzandi in the Allegro section should be accented within the crescendo from piano to fortissimo.-ire roll in measure 100 and measure 104 should be played as a fortissimo-mezzo piano roll; playing a softer

cynamic after the initial attack. The forte dynamic returns in measure 102; accenting the last three eighth-

lotes leading to the rhythm in measure 103. ln measure 107 the dynamic should be slightly less; play this

reasure as a subito mezzo-forte and phrase to the third beat, and the measures that follow, up to letter G.

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Recommended Technique

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2. Tied Rolls

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Recommended Dynamics and Phrasing

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i94. Two Measures before Number 56:

The final roll, two measures before Number 56, should be ptayed as a StandardShoke Ral/, ending with a fist stroke.

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5. One Measure before Number 66 and Three Measures before Number 67:Execute these two rolls exactly as Number 53; however, start a bit softer and end therolls with the heel of the hand.

@) rflThree Measures after Number 201 to Number 206:This tambourine excerpt is often on audition lists. As in most of the other sections,Stravinsky is very specific regarding articulation and types of rolls. The tempoindication is very quick, at 138 to the quarter note, but this excerpt can be performedas fast as 160 to the quarter note. There is no dynamic indicationl however, Isuggest beginning at an ntf and ending at anf to match the winds and strings.Typically, from Number 201to 205, the dynamic range increases as the orchestratexture thickens.

All eighth-note rolls in the 2/4 section should have an implied crescendo, connectthem to the accented note follorving the rolls. Any of the various tambourine rollscan be used to execute this passage, from the Open-Hand Thumb Roll,makinga

- crescendo into a finger stroke, or the heel of the hand, to a Braced Third-Finger Roll(with the final note played by the holding hand into the knee). Use the technique thatachieves the most consistent effect. The following is my edited version of theexcerpt:

7. Number 205:At the 6/8 (Number 205), Stravinsky shows that the indication of a half note equals a

dotted quarter note. This means the pulse of the previous half note in 2/4 timenow equals the dotted quarter note in 6/8 time. Note that the long rolls in the firstand third measures, after Number 205, are played as Standard Shake Rol/s with theholding hand. Be careful at Number 206 because the strings are in 214 time at thispoint and have a run, leading into the second half of the bar.

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