TMEA 2017 Percussion All-State Music: Snare Drum Etude скачать в хорошем качестве

TMEA 2017 Percussion All-State Music: Snare Drum Etude

Vic Firth presents Dr. Matthew McClung performing the TMEA 2017 All-State Snare Drum audition etude. This etude is from Mitchell Peter's "Advanced Snare Drum Studies" - Etude #19 - page 38-39. Watch this etude at a SLOW tempo -    • TMEA 2017 Percussion All-State Music: 2-Ma...   Watch the performance practices/suggestions -    • TMEA 2017 Percussion All-State Music: 2-Ma...   Playlist of all the 2017 TMEA audition material -    • Плейлист   -------------------- STICKS: #vfSATK - Ted Atkatz Signature Series http://vicfirth.com/products/band-orc... -------------------- PERFORMANCE GUIDE: This challenging etude explores the full palette of snare drum idioms. It includes a wide dynamic range that requires considerable soft playing as well as sudden, extreme dynamic changes; standard concert ornaments (flams, drags, and four-stroke ruffs in particular); concert rolls of varying length; and rapid playing at all dynamic levels. The etude will certainly test the player's abilities to execute each of these idioms. The metrical modulation in ms. 18 and again in ms. 53 may be confusing, but quite simply the beat remains consistent throughout; in ms. 18, the feel changes from a duple subdivision to a compound one, then back again at ms. 53. Once the player has determined his or her desired tempo, the metronome can be set and remain unchanged throughout the etude. Note that the triplet eighths at the end of ms. 17 are the same speed as eighth notes in the 6/8 section. One of the most challenging passages involves the execution of the ruffs in mm. 26-29. These ruffs must be cleanly articulated and very fast so as to distinguish them as an ornament. Given that the release note is accented, the recommended sticking is r-l-l-R. This gives the player a greater opportunity to set the hand for the ending accent. However, as this is a more complicated sticking to execute, l-r-l-R is a good alternative, but again the final accent must be clearly articulated. Care should also be given to distinguish these accented eighths with the non-accented eighths. The consecutive ruffs between ms. 28 and ms. 29 are most tricky. Likewise, the quality of the flams throughout the etude must be consistent. In the concert style, one must be careful not to play these flat. This consistency of quality is particularly important in mm. 50-51, where the flams are embedded in a straight sixteenth-note context. The performer’s sticking choice will influence how successfully this passage flows and how consistent the flams sound. All rolls should be in a concert (multiple-bounce) style. It is recommended that the rolls in ms. 45 be played as one-hand multiple bounce followed by a tap with the alternate hand on the release 16th note. Players may elect to play attempt rolls as two bounced 32nd notes, but the player must not let the rolls sound too crushed, accented, or louder than the surrounding notes. It is essential to master the full range of dynamics indicated in the etude. In particular, special attention should be given to developing control and evenness in soft playing. Clearly bring out accented notes; however, as mentioned above the performer should carefully distinguish between accented and non-accented grace notes and roll endings. In particular, do not arbitrarily end rolls with an accent; only accent roll endings where indicated. And, when playing the accents never let the tone quality become harsh. -------------------- FOLLOW US! ➤Website: http://www.vicfirth.com ➤YouTube:    / vicfirthdrumsticks   ➤YouTube (Marching):    / vicfirthmarching   ➤YouTube (Concert):    / vicfirthconcert   ➤Twitter:   / vicfirth   ➤Instagram:   / vicfirth