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Repertoire Packet

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					REPERTOIRE
  PACKET
 A step-by-step guide to learning and practicing new
  compositions with special emphasis on performance
               and audition preparation.


 A sample Repertoire Research Worksheet to be used
           when learning new compositions.

     A checklist of etudes, solos, and orchestral
   repertoire for the concert percussionist. Use it to
   track your progress through your collegiate years.



                                     by Matthew Bassett
      ***REPERTOIRE STUDY GUIDE***
GETTING STARTED
      1. Obtain a clean copy of the music.
                 Purchase your own original when possible
                 When working with a photocopy, take the time to tidy the
                   part with white out to make a clean copy. (It is easier to
                   read your own notations and it is unwise to trust someone
                   else’s markings.)
      2. Write your name on the music in ink.
      3. Keep your music in a plastic sheet protector, filing cabinet, or sturdy
         folder.

PRACTICING: Part I
      1. Initial read-through—Begin by playing through the piece under
         tempo. Use this time to begin learning the overall structure of the
         piece and to mark (in pencil) anything that might require special
         attention. Items to mark include:
                  Sections, phrases, motifs, patterns, etc.
                  Tempo indications or changes
                  Markings, symbols, or terms unfamiliar to you
                  Unusual rhythms or time signatures
                  Technically challenging passages
      2. Sectional learning—Divide the music into logical phrases and/or
         sections. Practice each section separately using the following
         principals:
                     Always use a metronome
                     Begin as slow as necessary to avoid practicing mistakes
                     Increase speed gradually
                     Decide upon stickings (and/or tuning plans) as early as
                       possible and mark them clearly
                  ***************About Stickings and Tunings***************
 Keep your goal tempo in mind when choosing stickings. Stickings that work at slow tempos
 sometimes do not work as well faster. Also, roll pulse is always affected by tempo and will
definitely be an important factor in any sticking plan. Again, keep your goal tempo in mind.
  Choose a sticking, mark it in pencil, and practice it thoroughly and consistently. As your
knowledge of a piece evolves, it is likely you will change your mind about some stickings and
alter them accordingly. This is fine! Write in your new sticking and incorporate it into your
              concept of the piece. New ideas are part of the learning process.

      3. Connection—When each section can be played consistently and
         comfortably (still under tempo), work to connect from one section to
         the next. Start with small increments of music on each side of the
         connection and gradually increase until fluid and comfortable.
      4. Putting it together—Once command of the sections and connecting
         passages has been achieved, is time to put the whole piece together.
         Practice the piece from beginning to end using these fundamental
         principles:
                                           (Over)
                   1.   Practice slowly with the metronome
                   2.   Avoid practicing mistakes
                   3.   Gradually increase the tempo
                   4.   Always practice musically

      Conclusion: Once the piece can be played consistently from beginning to
      end with minimal errors and basic musical understanding, practicing
      must be approached in a different manner in order to continue
      improvement. (See: Practicing, Part II).

LISTENING STUDY and RESEARCH
Listening study and research begin from the moment a piece or excerpt is
chosen and continues for as long as the piece is being practiced or performed.
Use the Repertoire Research Worksheet to document historical information and
listening study. Keep in mind the following principles:

      1. Historical—Understanding of the history behind a composition is
         tremendously important. In addition to the obvious facts and dates,
         consider questions such as: Why was the piece written?
         (Commission, special occasion, contest, etc.) What was going on in
         the world at this time? What was going on in the composer’s country
         or personal life at this time? The answers to these questions can
         provide insight into how a piece should be performed.
      2. Publishing—Many older pieces have been published several times by
         several companies and excerpts may appear in several excerpt books
         as well as in various engraved parts and scores. Be aware of the
         different generations of printed music available for any piece and
         learn about any commonly recognized discrepancies. This
         information is a must for any performance.
      3. Listening—Spend time with multiple recordings to gain understanding
         of the piece and to begin to form an opinion about how it should be
         performed. Listen with music in hand to notate ideas for phrasing
         and other interpretation issues. Also, listen without music to
         concentrate on sound, style, scope of the composition, etc.
      4. Theoretical—Solo compositions in particular need to be understood
         theoretically. Perform a thorough analysis of the piece in order to
         understand how it is put together. This knowledge is absolutely
         essential for meaningful performance.
      5. Score Study—Orchestral works, works for chamber groups, and other
         ensembles should be studied with a full score. Take special care to
         understand the percussion part’s function within the orchestration at
         any given time. Also, be aware of solos, solis, and other exposed
         passages.

      Conclusion: Thorough knowledge of a piece includes not only “learning
      the notes,” but also understanding the music from a theoretical and
      historical perspective and being aware of the details surrounding
      publishing and performance traditions.
PRACTICING: Part II
After successfully internalizing a piece, it is the performer’s job to become
capable of expressing her or his internal vision consistently. This section will
focus on how to hone those performance skills to a professional level. The
following techniques should be used concurrently and repeatedly until
consistent execution is achieved.


             Audio recording—Record yourself performing entire pieces,
              sections, and passages in order to observe whether your playing
              matches your perception of your playing. This technique is
              particularly helpful in perfecting phrasing, rhythmic clarity, and
              consistency of tempo. For example, record a passage and play it
              back with your metronome set to your goal tempo. Repeat this
              until the goal tempo is met and maintained exactly every time.
             Video recording—Employ video to record mock performances of
              entire pieces, excerpts, or auditions. Observe how your body
              language affects the quality of your performance; Examine your
              playing technique to see whether physical problems are affecting
              performance; For auditions, clock the time it takes to tune or
              switch instruments and look for inefficiencies in that movement.
             Practice performing—At every possible opportunity, play for
              people. Ask percussion colleagues, other musicians, friends,
              professors, and strangers to listen to you for 5, 10, 20 minutes or
              more. While comments and suggestions are sometimes helpful,
              the goal is to perform for an audience. Use audio or video
              recording so you can make your own judgments later. When
              preparing for a performance or audition, play for people 5 to 10
              times per day!!!
             Continued refinement—At this point in the preparation process,
              it is clear which pieces and passages continue to cause problems.
              These areas can be addressed through several techniques,
              including ultra-slow repetition with the metronome, practice of
              exercises derived from difficult passages, and even working up
              “fast” passages to speeds beyond the goal tempo.
             Continued study—Throughout the process of learning and
              perfecting a piece, it is essential that study in maintained.
              Reading, listening, and score study will continue to reveal clues to
              performance. In fact, when a performer knows a piece, in-depth
              study becomes more interesting and useful.
PRACTICING II (continued)



            Auditions—Here are some additional techniques specific to
             audition preparation:
                         Play along with several different recordings of each excerpt.
                          This type of practice is invaluable for understanding how your
                          part fits in with the ensemble and for understanding the variety
                          of interpretations that exist for each piece. Do this daily in the
                          weeks leading up to an audition!
                         Practice mock rounds by writing the name of each excerpt on
                          identical scraps of paper and drawing them randomly to
                          simulate playing any excerpt on demand. (Record yourself for
                          later observation.)
                         Practice simulating audition procedure by: wearing the
                          clothes (especially shoes) you will wear for the audition,
                          walking on and off the stage carrying your own equipment,
                          performing your round with cold hands, playing at the time of
                          day you will audition, practice when tired & hungry, and play
                          with cold hands.
                         Think about the instruments on which you practice. When
                          you know ahead of time what make and model instruments will
                          be used and how they will be set up (height and tilt), duplicate
                          these specifics as much as possible. When this knowledge is
                          not available practice on a wide variety of instruments with
                          various set-ups.
                         Prepare to adapt to requests from the audition committee.
                          Envision different musical requests that could be made of you
                          during the audition. Practice each excerpt with different
                          sticks/mallets, at louder and softer dynamics, at faster and
                          slower tempos and with various phrasings. Practice playing
                          under the direction of a conductor or with another
                          instrumentalist or accompanist, if the excerpt warrants.
                         Prepare to adapt to environmental factors. Learn as much as
                          you can about the space in which you will audition and prepare
                          accordingly, but be ready to adapt to what you hear when you
                          begin to play. For example, a big reverberant space might
                          require more articulate sticks and slightly slower tempos, while
                          a small rehearsal hall might benefit from rounder, softer
                          playing.


      Conclusion: The process of preparing any piece of music for superlative
      performance is demanding and rigorous and includes several phases.
      Serious musicians take the time to practice thoroughly, study, think, and
      practice again (and again and again) in order to achieve and maintain
      the highest level of quality and consistency in their playing. While this
      checklist—even if followed precisely—cannot guarantee a particular
      result, it can serve as a guideline for the serious student seeking to be
      prepared for auditions and performances.


                                                                       Matthew Bassett
  REPERTOIRE RESEARCH WORKSHEET
BASIC INFORMATION

Composer_______________________________________________________
Dates_________________

Composition_________________________________________________ Date composed_________

Composer information (i.e. nationality, adopted country, employment details, political
difficulties, family details, compositional influences, etc.)________________________________
__________________________________________________________________________________
__________________________________________________________________________________

Instrument(s)
__________________________________________________________________________

Complete percussion instrumentation (excerpt only)
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

PUBLISHING DETAILS
Publisher(s) _______________________________________________________________________
Additional sources (i.e. repertoire books or collections) __________________________________
Additional information (i.e. different editions, etc.)_____________________________________
__________________________________________________________________________________

MUSICAL DETAILS FROM LISTENING STUDY
Primary excerpts/sections (Movement, measure numbers, and/or rehearsal letters):
       **Note discrepancies between editions/score/parts/performance practices, etc.

   1. ___________________________ High tempo______ Low tempo _______Goal tempo____
             NOTES: _____________________________________________________________
   ______________________________________________________________________________

   2. ___________________________ High tempo______ Low tempo _______Goal tempo____
             NOTES: _____________________________________________________________
   ______________________________________________________________________________

   3. ___________________________ High tempo______ Low tempo _______Goal tempo____
             NOTES: _____________________________________________________________
   ______________________________________________________________________________

   4. ___________________________ High tempo______ Low tempo _______Goal tempo____
             NOTES: _____________________________________________________________
   ______________________________________________________________________________

Secondary excerpts (Orchestral repertoire only)

   1. ___________________________ High tempo______ Low tempo _______Goal tempo____
             NOTES: _____________________________________________________________
   ______________________________________________________________________________

   2. ___________________________ High tempo______ Low tempo _______Goal tempo____
             NOTES: _____________________________________________________________
   ______________________________________________________________________________

                                            (over)
RECORDINGS

   1. Ensemble/Soloist_________________ Conductor_______________ Year recorded______
             Record label_____________ Catalogue number_________ Year released_______
             NOTES: _____________________________________________________________
   ______________________________________________________________________________
   ______________________________________________________________________________

   2. Ensemble/Soloist_________________ Conductor_______________ Year recorded______
             Record label_____________ Catalogue number_________ Year released_______
             NOTES: _____________________________________________________________
   ______________________________________________________________________________
   ______________________________________________________________________________

   3. Ensemble/Soloist_________________ Conductor_______________ Year recorded______
             Record label_____________ Catalogue number_________ Year released_______
             NOTES: _____________________________________________________________
   ______________________________________________________________________________
   ______________________________________________________________________________

   4. Ensemble/Soloist_________________ Conductor_______________ Year recorded______
             Record label_____________ Catalogue number_________ Year released_______
             NOTES: _____________________________________________________________
   ______________________________________________________________________________
   ______________________________________________________________________________

   5. Ensemble/Soloist_________________ Conductor_______________ Year recorded______
             Record label_____________ Catalogue number_________ Year released_______
             NOTES: _____________________________________________________________
   ______________________________________________________________________________
   ______________________________________________________________________________


   NOTES

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__________________________________________________________________________________
             A CHECKLIST OF SOLOS, ETUDES,
              AND ORCHESTRAL REPERTOIRE
************************************************************************************


               Use this checklist to track your progress and
                plan your practicing.
               Check items after they are thoroughly learned.



                                 ****NOTES****

     Open-ended items, such as “American marimba solo,” should
         be selected in consultation with your private teacher.

       Books that contain collected solos, such as “All-American
       Drummer,” should be learned in their entirety before being
                              checked off.

     Repertoire is listed in Sets A, B, and, C—divided by frequency
                          of request at auditions:
              “Set A” includes basic repertoire found on most audition
                     lists. All music major percussionists should know this
                     repertoire.

                    “Set B” includes less familiar repertoire found on many
                     audition lists and should be learned by performance majors
                     by the end of their senior year.

                    “Set C” includes pieces that occasionally appear on
                     audition lists and pieces that professionals should know.
                     These should be learned by Master’s degree candidates.

     Multiple Percussion repertoire, drumset, and hand-drumming
     techniques should be learned during the undergraduate years.
                        *****Snare Drum*****
Etudes and Solos
      o         Delecluse            Douze Etudes pour Caisse Claire
                    1    2    3   4  5    6     7   8   9    10    11   12
      o                              Keiskleriana 1
                    1    2  3   4    5    6     7   8   9    10    11   12   13
      o         Peters               Advanced Snare Drum Studies
      o         Pratt                14 Modern Contest Solos
      o                              The New Pratt Book
      o         Wilcoxon             Modern Swing Solos
      o                              All-American Drummer
      o         ___________________________
      o         ___________________________
      o         ___________________________
      o         ___________________________

                Additional sources:   Aleo—Advanced Etudes for SD
                                      Cirone—Portraits in Rhythm
                                      Delecluse—Keiskleriana 2
                                      Fennell—Drummer’s Heritage
                                      Goldenberg—Modern School for SD
                                      Peters—Hard Times, Odd Meter Rudimental Etudes


Excerpts
      Set   A
      o     Bartok                    Concerto for Orchestra
      o     Prokofiev                 Lieutenant Kiji Suite
      o     Ravel                     Bolero
      o     Rimsky-Korsakov           Capriccio Espagnol
      o                               Scheherazade
      o     Shostakovich              Symphony #10

      Set   B
      o     Britten                   Young Person’s Guide
      o     Debussy                   Nocturnes (Fetes)
      o     Kodaly                    Hary Janos
      o     Neilsen                   Clarinet Concerto
      o                               Symphony #5
      o     Prokofiev                 Peter and the Wolf
      o                               Symphony #5
      o     Ravel                     Alborado del Gracioso
      o                               Daphnis et Chloe
      o     Rossini                   La Forza del Destino
      o                               La Gaza Ladra
      o     Schuman, W.               Symphony #3
      o     Shostakovich              Symhony #7
      o     Sousa                     Stars and Stripes Forever
     Set   C
     o     Berlioz                  Rokoczy March (Damnation of Faust)
     o     Bizet                    L’Arlesienne Suite (Farandole)
     o     Debussy                  Iberia
     o     Gliere                   Russian Sailor’s Dance from Red Poppy
     o     Prokofiev                Romeo and Juliet (Complete Ballet)
     o     Shostakovich             Symphony #11
     o                              Symphony #15 (SD w/ castanet, etc.)
     o     Strauss, J               Emperor Waltz
     o     Strauss, R               Ein Heldenleben
     o     Stravinsky               Les Noces
     o     Varese                   Ionisation



                          *****Mallets*****
TWO MALLET Etudes and Solos
     o     Bach                    Gigue from Violin Partita #2 in D minor
     o                             Prelude from Violin Partita #3 in E major
     o     Bach                    ______________________________
     o     Green                   Light Classical Piece:_______________________
     o                             Light Classical Piece:_______________________
     o                             Rag:_____________________________________
     o                             Rag:_____________________________________
     o     Kreisler/Green          Tambourin Chinois
     o     _________________________________________________________________
     o     _________________________________________________________________




FOUR MALLET Etudes and Solos
     o     Abe marimba solo:           ______________________________
     o     American marimba solo:      ______________________________
     o                                 ______________________________
     o     Bach                        Bouree from Violin Partita #1 in B minor
     o                                 Andante from Violin Sonata #2 in A minor
     o     Bach (Fugue):               ______________________________
     o     Bach (or other Baroque): ______________________________
     o     European marimba solo:      ______________________________
     o                                 ______________________________
     o     Japanese marimba solo:      ______________________________
     o                                 ______________________________
     o     Romantic Era Transcription: ______________________________
     o                                 ______________________________
     o     20th Century Transcription: ______________________________
     o                                 ______________________________
     o     Vibraphone Solo:            ______________________________
     o     _________________________________________________________________
     o     _________________________________________________________________

Xylophone Excerpts
     Set   A
     o     Copland                  Appalachian Spring
     o     Gershwin                 An American in Paris
     o                              Porgy and Bess
     o     Kabalevsky               Colas Breugnon Overture
     o     Kodaly                   Hary Janos Suite
     o     Shostakovich             Polka
      (xylopnone, continued)
      Set   B
      o     Barber             Medea’s Meditation and Dance of Vengeance
      o     Bartok             Music for Strings, Percussion, and Celeste
      o     Britten            Young Person’s Guide to the Orchestra
      o     Hayman             Pops Hoedown
      o     Hindemith          Kammermusik No. 1
      o     Khatchaturian      Gayne Ballet
      o     Messiaen           Exotic Birds
      o     Ravel              Mother Goose Suite
      o     Saint-Saens        Carnival of the Animals
      o                        Dance Macabre
      o     Schuman, W         Symphony #3
      o     Strauss            Salome’s Dance
      o     Stravinsky         Firebird (Complete Ballet Music)
      o                        Les Noces
      o                        Petrouchka (1911 and 1947)

      Set   C
      o     Bartok             Sonata for Two Pianos and Percussion
      o     Bernstein          Symphony #2 (Age of Anxiety)
      o     Kleinsinger        Peewee the Piccolo
      o                        Tubby the Tuba
      o     Prokofiev          Alexander Nevsky
      o     Schuman, W         Judith
      o     Shostakovich       Cello Concerto #2
      o                        Symphony #6


Bell Excerpts
      Set   A
      o     Dukas              Sorcerer’s Apprentice
      o     Kodaly             Hary Janos Suite
      o     Mozart             Magic Flute
      o     Respighi           Pines of Rome
      o     Strauss            Don Juan

      Set   B
      o     Debussy            La Mer
      o     Delibes            Bell Song from Lakme
      o     Kodaly             Hary Janos
      o     Glazunov           Violin Concerto
      o     Messiaen           Exotic Birds
      o     Ravel              Mother Goose Suite
      o     Respighi           Roman Festivals
      o     Rimsky-Korsakov    Russian Easter Overture
      o     Stravinsky         Petrouchka (1911 and 1947)
      o     Tchaikovsky        Sleeping Beauty
      o     Wagner             Der Meistersinger (Dance of the Apprentices)
      o                        Waldweben and Rhine Journey from Gotterdamerung


Vibraphone Excerpts

      o     Berg               Lulu
      o     Bernstein          Symphonic Dances from West Side Story
      o     Schuller           Seven Studies on Themes of Paul Klee
                        *****Timpani*****
Etudes and Solos
      o    Carter                     Eight Pieces for Four Timpani…
      o        March          plus two others:_____________ ______________
      o    Delecluse                  Trente Etudes pour Timbales (Book 3—Nos. 22-30)
      o                               Vignt Etudes pour Timbales
      o    Feise-Lepak                Timpani Method
      o    Goodman                    Modern Method for Timpani
      o    Hochrainer                 Etuden für Timpani, Heft #1
      o    Leonard                    Pedal Technique for Timpani
      o    Lepak                      32 Solos for Timpani
      o    Solo work or concerto______________________________
      o                             ______________________________
      o                             ______________________________

Excerpts
      Set A
          o   Bartok                 Concerto for Orchestra
          o   Beethoven              Symphony #1
          o                          Symphony #5
          o                          Symphony #9
          o   Brahms                 Symphony #1
          o   Hindemith              Symphonic Metamorphosis
          o   Mozart                 Symphony #39
          o   Shostakovich           Symphony #1
          o   Strauss                Burleske
          o   Stravinsky             Rite of Spring
          o   Tchaikovsky            Romeo and Juliet
          o                          Symphony #4
          o   Wagner                 Funeral Music from Siegfried


      Set B
          o   Barber                 Medea’s Meditation and Dance of Vengeance
          o   Bartok                 Music for Strings, Percussion, and Celeste
          o   Beethoven              Piano Concerto #5
          o                          Symphony #3
          o                          Symphony #7
          o                          Symphony #8
          o                          Violin Concerto
          o   Berlioz                Symphonie Fantastique (Timpani 1 and 2)
          o   Brahms                 Piano Concerto #1
          o                          Symphony #2
          o                          Symphony #4
          o   Britten                Four Sea Interludes from Peter Grimes
          o                          Young Person’s Guide
          o   Elgar                  Enigma Variations
          o   Mahler                 Symphony #5
          o                          Symphony #7
          o                          Symphony #1
          o   Martin                 Concerto for 7 Wind Instruments
          o   Mendelssohn            Symphony #3
          o                          Symphony #4
          o   Mozart                 Magic Flute (Overture)
          o                          Symphony #41
          o   Orff                   Carmina Burana
   (timpani, continued)
   Set   B
   o     Prokofiev        Classical Symphony
   o                      Peter and the Wolf
   o                      Symphony #6
   o     Saint-Saens      Samson and Delilah (Bacchanale)
   o     Schubert         Symphony #9
   o     Schuman, W       New England Triptych
   o     Schumann, R      Symphony #2
   o     Shostakovich     Symphony #1
   o     Sibelius         Finlandia
   o                      Symphony #2
   o     Strauss          Death and Transfiguration
   o                      Don Juan
   o                      Der Rosenkavalier (Orchestral Suite)
   o     Stravinsky       Firebird
   o                      Petrouchka
   o     Tchaikovsky      Symphony #5

Set C
    o    Barber           Symphony #1
    o    Bartok           Piano Concerto #2
    o                     Sonata for Two Pianos and Percussion
    o                     Violin Concerto #2
    o    Beethoven        Piano Concerto #3
    o                     Missa Solemnis
    o                     Symphony #2
    o                     Symphony #4
    o                     Symphony #6
    o    Brahms           German Requiem
    o                     Symphony #3
    o    Britten          Nocturne
    o    Carter           Variations for Orchestra
    o    Copland          Appalachian Spring
    o    Debussy          La Mer
    o    Holst            The Planets (Timpani 1 and 2)
    o    Janacek          Glagolithic Mass
    o                     Sinfonetta
    o    Mahler           Symphony #2 (Timpani 1 and 2)
    o                     Symphony #3 (Timpani 1 and 2)
    o                     Symphony #4
    o                     Symphony #6 (Timpani 1 and 2)
    o                     Symphony #8
    o                     Symphony #9
    o    Neilsen          Symphony #4 (Timpani 1 and 2)
    o    Schumann, R      Symphony #1
    o                     Symphony #3
    o                     Symphony #4
    o    Schuman, W       Symphony #6
    o    Shostakovich     Symphony #10
    o                     Symphony #11
    o    Sibelius         Symphony #1
    o                     Symphony #7
    o                     Violin Concerto
    o    Strauss          Salome’s Dance
    o    Stravinsky       Jea de Cartes
    o                     Les Noces
    o    Tchaikovsky      Symphony #6
    o    Verdi            Requiem
                         *****Accessories*****
                               (**Indicates priority)


Bass Drum
      o     Berlioz              Symphonie Fantastique
      o     Mahler               Symphony #3**
      o     Respighi             Roman Festivals
      o     Stravinsky           Rite of Spring**
      o     Tchaikovsky          Symphony #4




Bass Drum w/ Cymbal Attachment
      o     Mahler               Symphony #1
      o                          Symphony#3
      o     Stravinsky           Petrouchka (1911 and 1947)



Castanets
      o     Debussy              Iberia
      o     Prokofiev            Piano Concerto #3
      o     Ravel                Rhapsody Espagnol
      o     Wagner               Bacchanale from Tannhauser




Cymbals
      o     Debussy              La Mer
      o     Dvorak               Scherzo Capriccioso
      o                          Slavonic Dance, Op. 46, #1
      o     Mussorgsky           Night on Bald Mountain
      o     Rachmaninoff         Piano Concerto #2**
      o     Sibelius             Finlandia
      o     Tchaikovsky          Romeo and Juliet**
      o                          Symphony #4**



Tambourine
      o     Berlioz              Roman Carnival Overture
      o     Bizet                Carmen Suites #1 and #2**
      o     Borodin              Polevitsian Dance from Prince Igor
      o     Britten              Four Sea Interludes from Peter Grimes
      o     Chabrier             Espana
      o     Dvorak               Carnival Overture**
      o     Rimsky-Korsakov      Scheherazade
      o     Stravinsky           Petrouchka
      o     Tchaikovsky          Capriccio Italien
      o                          Nutcracker Ballet (Trepak and Arabian Dance)**
       (accessories, continued)
Triangle
       o   Berlioz                     Roman Carnival Overture
       o   Bizet                       Carmen Suites #1 and #2
       o   Brahms                      Symphony #4**
       o   Dvorak                      Slavonic Dances (Esp. #10 in E Minor)
       o                               Symphony #9**
       o   Liszt                       Piano Concerto #1**
       o   Rimsky-Korsakov             Capriccio Espagnol
       o                               Scheherazade
       o   Tchaikovsky                 Nutcracker (Overture-Miniature)




            *****Multiple Percussion*****
       o   Bernstein                   Symphonic Dances from West Side Story (Tom-toms)
       o   Milhaud                     Le Creation de Monde
       o   Stravinsky                  Histoire du Soldat
       o   Walton                      Façade Suite




                            *****Drumset*****
Time-keeping and fills at various tempos in the following styles:

           o    Rock
           o    Jazz
           o    Jazz Waltz
           o    Funk
           o    Latin: Samba, Bossa Nova




                     *****Miscellaneous*****
   o   Latin—basic techniques on congas, bongos, and timbales
   o   Hand Drumming—Basic techniques.

				
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