Page(s): 17 Tempo: Quarter Note = 96–106, Errata: 36 This consistency of quality is particularly important in mm. There are breathing challenges with slurs in places that should not be broken to catch a breath. m. 11, bet 3 the high F should be Natural (approved 8/29) 34 Special attention should also be given to the various styles and articulations. All-District Band Auditions The 20-21 Middle School Band Auditions have been canceled. Publisher: Warner Bros. Publications Page(s): 7 The middle cantabile section allows the player to produce a “singing” tone quality with an open throat position, warm air supply and rhythmically controlled finger motion. The accents need to be more lyrical (a push with the air pressure) rather than percussive (a heavy/hard articulation). Editor: H. Voxman 4 signifies an upper mordent and is a rapid alternation between the written pitch, diatonic pitch above it, and the written pitch again (E, F-sharp, E), beginning on the beat. This charming etude should be performed with character and style as your priority, never sacrificing those elements for speed. Instead, keep the air moving off the ends of the slurs, simply allowing the articulation of the subsequent note to finish slurs. Page(s): 20-21 Performance Guide: Band Guitar Faculty Disney 2020 Helpful Links Edgenuity ILMEA Audition Music - Set 1 Below you will find all of the PDF's of the scale sheets as well as the etudes. Throughout the etude, be sure to hear each note of grace notes distinctively, and feel each note underneath your fingers. Tempo: Meno: Quarter Note = 52–60; Tempo 1: Quarter Note = 60-68. This is a typical Blazhevich etude. Here’s a wonderful and incredibly easy solution: Editor: H. Voxman For staccato markings on sixteenth notes underneath slurs, use a gentler tongue stroke. Edition: EA 764 0-913574-96-1 Key: D Major 6. do not articulate the first of the 16ths notes following the grace notes.) The rhythm in m. 16 is a common stumbling block, and use of the thumb B-flat fingering (compared to one-and-one B-flat) will assist with technical facility through this and many of the passages. When trilling, lean into the front of the trill to add some musical shaping. One simple way to accomplish this is by following the melodic contour with dynamics but be tasteful since it can be nauseating if overdone. A slight ritard might be permitted in the last three measures to bring a sense of finality. m. 15- 1st note of beat 4 is an E-natural To build the range, flexibility, and technique that will be necessary for this etude, it is highly recommended that you begin daily practice of two- or three-octave D major and B minor scales and arpeggios. dotted-quarter = 69. This etude should be thought of aa a light, delicate and fun etude. All quarter notes and larger are to be rolled. Play from Beginning to and through the downbeat of ms. 49. Editor: M. Peters Break the slur and breathe after the downbeat in measure 13. Terms: 2 M. 12 The last grouping of 32nd notes should begin with a C natural (some older printings indicate a C#). When and where to breathe is up to the individual player. M. 48 - the next to the last note should be B natural. Even though it is not a flick note, tapping the A flick key on the G-sharp will help. Key: There are several things that pretty much every Blazhevich etude has in common with every other Blazhevich etude - 1) repeating rhythmic patterns, 2) repeating harmonic patterns, 3) diminished 7th chords, 4) a repeat back to the beginning melodic idea and 5) no dynamic markings. Page(s): 4-5 Key: a minor This is a lighthearted and cheerful technical etude. Ms. 12-the last grouping of 32nd notes should begin with a C-natural (some older book editions indicate a C#) - revised 7/15/2020. This is a beautiful and lyrical etude that offers many opportunities to showcase expressive and musical playing. One of the most challenging moments in the etude occurs in mm. Allargando- widening or stretching, Book Title: Artistic Studies, Book 1 - From the French School Likewise in ms. 12, the rolls of the quarter-note triplet should be very slightly separated. Key: This is a typical Blazhevich etude. ), eighth-dotted eighth-sixteenth notes (mm. 6, 22, and 26. Tempo: Dotted Half Note = 60–66. many contra bassoons. 10, 11, 12, and 29. Page(s): 18-19 In measure 31, Starting on beat 4, the D should be changed to D natural, voiding the D-flat which occurs earlier in the measure. The end product must be musically convincing as well as technically impressive. The normal high C sharp fingering can also be used, although it is slow to respond when descending back to the high b. … 31-End, where these ornaments are often embedded in a straight sixteenth-note context. If needed, you may add a slur in m. 34 on the first two notes of the tenor clef, from the G-sharp to the A. Fingerings: To facilitate the slur in m. 7 from the high A to the following D-sharp, remain on the C-sharp key for the D-sharp. Clarification: last note of m. 15 is B-flat (accidental does not carry through the octave) m. 14- the last two notes of beat 4 should be 16th notes and not 32nd notes.-Revised 7/15/2020 second note should be an A natural, and in m. 26, beat 2, the last thirty-second note should also In mm. Mark them in lightly with a pencil just in case you hear things differently laster on. Tempo will be given at the beginning of study time and again at the end of study time (. A musically satisfying performance will profit from a sense of rubato throughout. Using the Gb valve by itself will make performing this etude much easier. In m. 7, slur the two grace notes into the downbeat of the following high G. Performance Guide: Usually the C above the staff tends to be flat, the Gs both in the staff and above the staff tend to be sharp (with third valve as a useful alternate fingering), and the C in the staff may sometimes be flat on a four-valve instrument (and always very sharp on a three-valve instrument). Official site of the VBODA - Virginia Band & Orchestra Directors Association, an affiliate of the VMEA. Once immediate vibration at the lips has been achieved, begin gradually increasing dynamic until a clear fortissimo and accented articulation can be achieved. Book Title: Selected Studies Key: C Major Key: 7 in D Major, Op. Performance Guide: Publisher: Rubank / Hal Leonard Again, pay careful attention to optimal hand position, rounded, curved fingers, especially index and pinky fingers. Even Quarter note 96–104 in performance by Starting your preparation at half Tempo or less tied. Be precise while the marking “ Marcia ” implies both a march Tempo and style however. 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