PERCUSSION
Performance Notes for 2015-16 All-State Band Auditions
by
DR. SCOTT HERRING
Professor of Percussion
University of South Carolina
Region All/State Junior Mallet Solo
•
If possible use a softer xylophone mallet to make the rolls in the introduction
sound more legato. I would suggest a very hard rubber mallet or soft plastic
mallet.
•
The opening four measures do not have to be played perfectly in time. The
composer has given the soloist a little freedom with the marking “espressive con
rubato.”
•
In measure 6, be sure to start at a strong enough mf to make a good diminuendo in
measure 9.
•
For measures 6-7 I would suggest the following sticking:
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Measures 10 and 11 should be the strongest two measures in the solo. Don’t
overplay here, but give yourself enough room to make a nice diminuendo in the
following measure.
•
Both endings (Region and All-State) require a high level of precision for the
double stops, especially on xylophone. Because of the brittle sound of the
xylophone, even a small amount of inaccuracy with the double stop will be clearly
audible.
L RL R R LR L R L|R LR L R LR L R R|. This will lead you back to the left
hand, which should start the ascending passage in measure 8.
Region/All-State Clinic Mallet Solo
•
In the opening, leading with the left hand when shifting between the two-note
rolled chords by will result in a much smoother shift from chord to chord.
•
At measure 6, be sure to start at a strong enough mf to make a good diminuendo
into measure 9.
•
The double stops in measures 9-10 must be played precisely together.
•
Because of the crescendo, it is easy to rush the transition from measure 12a to
13a. Keep the sixteenth note in your mind as you transition to eighth notes to
maintain the tempo.
•
*Carefully practice measures 12b-13b with a metronome to ensure that your
triplet/eighth note relationships are correct. Also work to play the double stops in
the penultimate measure precisely together.
*Only for All-State callback auditions
Region/All-State Senior Mallet Solo
•
*Use a softer mallet for the introduction of the piece. Shifting between the chords
by leading with the left hand will result in a much smoother shift from chord to
chord.
•
Many of the Allegro passages of this etude should be played left hand lead. This
is especially true for measures 7-9.
•
Be sure to start at a strong enough mf to make a good diminuendo in measure
nine.
•
In order to navigate the transition between measures 9 and 10, play a double right
from the last sixteenth of measure 9 to the first note of measure 10.
•
Measures 11 and 12 are complicated by the double stops. To effectively execute
those two measures, follow the double stop with a left hand stroke (M. 11 Bb to C
and M. 12 A to C).
•
In measure 13, an alternating sticking beginning on the right hand will lead to a
left hand in measure 14. The next several measures will need to start on the left
hand due to the rising contour of the line.
•
In measure 15, 17 and 19, it is very important to for the double stops to sound
precisely together.
•
Carefully practice measure 21 very with a metronome, as the triplets will want to
rush coming out of the sixteenth notes.
*Only for All-State callback auditions
Region/All-State Junior Snare Solo
•
Quarter Note = 105 is a slightly awkward tempo for this solo and most folks will
want to push the tempo. Carefully practice with a metronome to ensure you keep
the time steady.
•
Play all soft passages at the edge of the drum to help with dynamic contrast and
clarity.
•
In measures 6-9 I would suggest keeping the sixteenth note subdivision going in
your mind. This will keep you from pushing through the syncopated figure.
•
Even though they are not tied, I would suggest connecting the rolls in measure 1112. In measure 13, only crescendo to a mp dynamic level.
•
In measure 15, only crescendo to a f dynamic level. Then, resist the temptation to
drop back and instead crescendo from f to ff at the end.
•
*From measure 30 to the end, I would suggest playing all of the flams and drags
on the same hand for the sake of consistency.
•
*In measure 32, I would suggest this sticking: LLR R LRL RLRL to get you back
on the right hand for the penultimate measure.
*Only for All-State callback auditions
Region/All-State Clinic Snare Solo
•
At dotted quarter note = 72, the dotted quarter notes are very easy to shorten.
From the first measure, subdivide the eighth notes during the dotted quarters.
•
Play all soft passages at the edge of the drum to help with dynamic contrast and
clarity.
•
For all of the quarter note rolls, I would suggest a 5-note (quintuplet) roll
structure. A four-note (sixteenth notes) structure will work, but doesn’t fill the
roll out as well as a quintuplet. If you decide on the 5-note subdivision, I would
suggest starting them on your left hand and ending on the right.
•
The dotted eighth-note figures in measures 5-8 make this section feel as if it is in
2/4. The tendency is to want push the time in these figures. Carefully practice
these measures with a metronome keeping the sixteenth-note subdivision
constantly going through your mind.
•
Even though they are not tied, I would suggest connecting the rolls in measure 1112. In measure 13, only crescendo to a mp dynamic level.
•
For the eighth-note rolls in measures 14a-15a, use a sixteenth-note triplet (3-note)
roll structure.
•
*For measures 14b-end, try playing all of the flams, the single drag, and fourstroke ruff on the right hand (e.g. LR, LLR, RLLR).
Region/All-State Senior Snare Solo
•
At dotted quarter note = 72, the dotted quarter notes are very easy to shorten.
From the first measure, subdivide the eighth notes during the dotted quarters.
•
Play all soft passages at the edge of the drum to help with dynamic contrast and
clarity.
•
For all of the quarter note rolls, I would suggest a 5-note (quintuplet) roll
structure. A four-note (sixteenth notes) structure will work, but doesn’t fill the
roll out as well as a quintuplet. If you decide on the 5-note subdivision, I would
suggest starting them on your left hand and ending on the right.
•
The dotted eighth-note figures in measures 5-8 make this section feel as if it is in
2/4. The tendency is to want push the time in these figures. Practice these
measures carefully with a metronome keeping the sixteenth-note subdivision
constantly going through your mind.
•
In order to play this etude successfully, you must choose stickings wisely. Many
of the following comments will pertain to stickings for this reason. While mine
are certainly not the ONLY way, I have found these choices of stickings to be
successful for me. And if you are left handed, you may want to reverse what I
have below.
•
For the 4-stroke ruffs, single drags, and flams in measures 5-8, I would suggest
playing them all on the right hand (e.g. LR, LLR, RLLR). This will help in playing
them the same every time.
•
In measure 9, start beat two with your left hand, and play the flams on your right
hand (LRLRL LR LLRRL LR).
•
Even though they are not tied, I would suggest connecting the rolls in measure 1112. In measure 13, only crescendo to a mp dynamic level.
•
*In measure 14b, trying playing a Swiss-Army triplet at the end of the bar to
transition into the drag in the next measure.
•
*Measure 16b is particularly difficult due to the speed of the thirty-second notes
and the diminuendo to the end of the bar. I would suggest the following sticking
for measure 16b: LLR RLRLRLRL R LRLRL RLRL. Many repetitions of this
measure at a slower tempo will help you work it up to the marked tempo.
*Only for All-State callback auditions
Region/All-State Junior Timpani Solo
•
•
If possible use the 29” and 26” drum for this solo. It will be easier to play this
solo on adjacent drums.
At the opening (and ending) of this solo, resist the temptation to overplay the ff
dynamic levels. Never sacrifice quality of sound for quantity of sound.
•
In measure 9, be sure to mute both drums after beat 2 to bring out the dynamic
shift to mp on beat 4. The same applies for measure 11.
•
Measures 14-18 use a common technique in timpani solo literature, one hand
playing melody while the other plays accompaniment. Work to play the double
stops precisely together, a difficult task when each hand has a different dynamic
marking.
•
In measures 26a-31a, for the sake of clarity, avoid using double stickings for the
sixteenth notes.
•
*In measures 26b-end, also avoid using double stickings for the syncopated
rhythmic figures.
•
*The All-state ending will also tempt the player to overplay since all notes are
accented. Again, be sure that you sound is full, but the sound doesn’t spread due
to playing too loud or using inappropriate technique.
*Only for All-State callback auditions
Region/All-State Clinic Timpani Solo
•
At the opening (and ending) of this solo, resist the temptation to overplay the ff
dynamic levels. Never sacrifice quality of sound for quantity of sound.
•
In measures 5 and 7 (and all passages like these two), carefully notice the subtle
switches between the Bb’s and C-naturals.
•
In measure 9, be sure to mute both drums after beat 2 to bring out the dynamic
shift to mp on beat 4. The same applies for measure 11.
•
Measures 14-18 use a common technique in timpani solo literature, one hand
playing melody while the other plays accompaniment. Work to play the double
stops precisely together, a difficult task when each hand has a different dynamic
marking.
•
Though I usually try to avoid double-stickings between drums, in measures 23-24
this sticking L L R R | L L R R | works particularly well.
•
The Region Band ending contains several measures with tricky drum changes and
subtle differences from measure to measure. Be sure you are playing the correct
drum changes and avoid double-sticking on the sixteenth-notes.
•
*It is particularly difficult to get a good sound in measure 30b of the All-State
ending. The sound of the low Eb will spread quickly if approached to
aggressively. Play with a full stroke, not a sharp stroke to get a warm sound
instead of a “splat.”
*Only for All-State callback auditions
Region/All-State Senior Timpani Solo
•
At the opening (and ending) of this solo, resist the temptation to overplay the ff
dynamic levels. Never sacrifice quality of sound for quantity of sound.
•
Measures 5-8 are very tricky because of the syncopated rhythms and quick drum
changes. Settle on stickings early in your practice and use those each time to
develop some muscle memory for the drum changes.
•
In measure 9, be sure to mute both drums after beat 2 to bring out the dynamic
shift to mp on beat 4. The same applies for measure 11.
•
Measures 14-18 use a common technique in timpani solo literature, one hand
playing melody while the other plays accompaniment. Work to play the double
stops precisely together, a difficult task when each hand has a different dynamic
marking.
•
In measures 22 and 26, think of the tenuto marks as slight accents. Bring out the
left hand in these two measures and play the right hand softer than the left.
•
Because of the ff dynamic marking, measures 26a-31a may sound too “busy.”
While playing strongly, attempt to make this section groove.
•
*Measures 26b-end should also groove. The rhythms in measure 30b-31b are
rather tricky, even though only two drums are used. Be careful not to overplay
the figure in the last measure.
*Only for All-State callback auditions