Choir Audition Requirements

GENERAL INSTRUCTIONS FOR CHOIR APPLICANTS

1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
2. There is a $10.00 fee to audition. (plus and additional $10 fee if you also audition for the Jazz Choir.) Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
3. Fill out the Student Audition Information Sheet and give it to your teacher.
4. Vocal auditionees are only allowed to submit one vocal audition. Violation of this rule will result in disqualification.
5. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
6. If you have any questions about the Treble Choir, contact {{chairs.data.treblechoirchair[0].first}} {{chairs.data.treblechoirchair[0].last}}. For Mixed Choir contact, {{chairs.data.mixedchoirchair[0].first}} {{chairs.data.mixedchoirchair[0].last}}. For Jazz Choir, contact {{chairs.data.jazzchoirchair[0].first}} {{chairs.data.jazzchoirchair[0].last}}.
7. All auditions must be completed and uploaded by {{dates.data.auditionDeadline[0].deadline}}.
8. Optional Jazz Choir Audition. If you wish to be considered for the Idaho All-State Jazz Choir, please complete the three additional exercises. (There is an additional $10 fee to audition for the Jazz Choir.)

Audition Exercises:

All exercises and the song are to be sung unaccompanied. The pitch should be given only once before each exercise. Each exercise should be recorded into a separate file.

1. Sing following scale, ascending and descending, using the syllables "do re mi fa sol la ti do". Do not repeat the high "do" upon descending. You may take a breath, if needed. Sing the exercise with each note m.m. 100.


Soprano I: F (first space treble staff)
Soprano II: D (above middle C)
Alto I: A (below middle C)
Alto II: G (below middle C)
Tenor I: Eb (third space bass staff)
Tenor II: C (octave below middle C)
Bass I: G (first line bass staff)
Bass II: F (first space below bass staff)




2. Sing following scale, ascending and descending, using the syllables "do re mi fa sol la ti do". Do not repeat the high "do" upon descending. You may take a breath, if needed. Sing the exercise with each note m.m. 100.


Soprano I: A (second space treble staff)
Soprano II: G (second line treble staff)
Alto I: Eb (first line treble staff)
Alto II: D (above middle C)
Tenor I: G (fourth space bass staff)
Tenor II: E (third space bass staff)
Bass I: D (third line bass staff)
Bass II: C (octave below middle C)




3. Vocalize the scale pattern "8-5-3-1" using the word "I love to sing", each pitch at m.m. 120. At the end of the pattern, sing the exercise again 1/2 step higher. Repeat the exercise again another 1/2 step higher, etc. for a total of six renditions of the pattern. Do not vocalize the 1/2 step transition at the end of each pattern.


Soprano: begin on C (third space)
Alto: begin on G (second line)
Tenor: begin on C (middle C)
Bass: begin on G (fourth space bass staff)


4. Sing unaccompanied the melody and word of "America the Beautiful" (Oh beautiful for spacious skies) first stanza only. Use the following keys at m.m.100.


Soprano I & Tenor I: key of D (start on A)
Soprano II & Tenor II: key of C (start on G)
Alto I & Bass I: key of B (start on F#)
Alto II & Bass II: key of A (start on E)



OPTIONAL: Jazz Choir Audition
It would be useful for you to purchase Jamey Aebersold Volumes 2 and 25 with the practice CD, or download the iReal app, adding the jazz standards forum to your list.


5. Jazz Interpretation: Sing the first 16 measures in a swing style, unaccompanied, of “Summertime.” You choose the tempo and key. (Lead sheet is available on Aebersold, Volume 25.)


6. Rhythmic and Pitch Accuracy: Sing unaccompanied, your voice part of Jazz Choir, Example 1.


7. Optional Improvisation: Improvise (using scat syllables) 12 bar blues in the key of Bb, 3 times through. Record yourself using any of the following options: Jamey Aebersold's Volume 2, track 5, iReal app Bb Blues - Fast Swing setting, a live rhythm section, or acapella (between 160-180 BPM if using this option).

Jazz Band Audition Requirements

GENERAL INSTRUCTIONS FOR JAZZ BAND APPLICANTS

1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. IF THERE IS AN INDICATED TEMPO, PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
2. There is a $10.00 fee to audition. Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
3. Fill out the Student Audition Information Sheet and give it to your teacher.
4. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
5. If you have any questions about the Jazz Band, contact: {{chairs.data.jazzbandchair[0].first}} {{chairs.data.jazzbandchair[0].last}}
6. All auditions must be completed and uploaded by {{dates.data.auditionDeadline[0].deadline}}.

JAZZ BAND AUDITION MATERIALS

*NEW* The Jazz Band Auditions have been chaged for 2021. Be sure to use these materials!

All examples are to be played alone (without accompaniment) except where indicated. For the rhythm tracks, use the link to play or download the track.

Jazz Band Saxophones & Brass (Download)

All examples are to be played alone (without accompaniment) except where indicated.

Written Etudes

1. Play “Swing Excerpt - #1” as indicated on the downloadable instructions.
2. Play “Ballad Excerpt - #2” as indicated on the downloadable instructions.
3. Play “Latin/Straight 8th Excerpt- #3” as indicated on the downloadable instructions.

Improvisation

4. Record a 1-chorus melody (aka “head”) of your choice over a 12-bar F Blues. (ie. Billie’s Bounce, Now’s the Time, Straight no Chaser, etc.). Immediately following the head, record 2-4 additional improvisation choruses of an F Blues that demonstrates your understanding of the jazz language, ability to hit the correct chord changes, and expressiveness as a jazz soloist.
   This track may be recorded with the included rhythm section audio tracks (from iReal Pro) or a live rhythm section of your choice, but it must be accompanied. A specific tempo is not required.

Accompaniment Sound Files: F Blues (Billie's Bounce Changes) - 3 medium choruses F Blues (Billie's Bounce Changes) - 3 slower choruses F Blues (Billie's Bounce Changes) - 4 medium choruses F Blues (Billie's Bounce Changes) - 4 slower choruses iReal File: F Blues (Billie's Bounce Changes) - iReal file           Download (right-click) file and open in iReal Pro Change Sheets PDFs: F Blues (Billie's Bounce Changes) - Bb instruments F Blues (Billie's Bounce Changes) - C instruments F Blues (Billie's Bounce Changes) - Eb saxes

Lead Trumpet Option: If you would like to be considered for Lead Trumpet or demonstrate your lead playing abilities, record tracks 1-4 above and add these tracks:

5. Play “Lead Trumpet Excerpt - LT #1” as indicated on the downloadable instructions.
6. Play a chromatic scale from your lowest comfortable note to highest comfortable note BOTH ascending and descending. Use legato tonguing, taking breaths as needed. (Quarter note = 132)

Bass Trombone Option: If you would like to be considered for the Bass Trombone spot, record tracks 1-4 above and add these tracks:

5. Play “Bass Trombone Additional Excerpt - BT #1” as indicated on the downloadable instructions.
6. Play a descending quarter note chromatic scale from Bb in the bass clef staff to your lowest comfortable note. Use legato tonguing, taking breaths as needed. (Quarter note = 132)

Jazz Band and Jazz Choir Rhythm Sections (Download)

All examples are to be played alone (without accompaniment) except where indicated. This rhythm section material is for both Jazz Band and Jazz Choir Rhythm auditions.

Guitar

1. Play the written guitar part from “Jazz Guitar”, example 1.
2. Comp at least 16 measures of chord changes from a medium tempo “swing feel” chart, unaccompanied. Recommendation: if possible, use materials you are currently playing in your school jazz ensemble.
3. Improvise a solo playing 3-4 choruses of up-tempo 12-bar blues in F. This track may be recorded with the included rhythm section audio track (from iReal Pro) or a live rhythm section of your choice, but it must be accompanied.

Accompaniment Sound Files: F Blues (Billie's Bounce Changes) - 3 choruses F Blues (Billie's Bounce Changes) - 4 choruses iReal File: F Blues (Billie's Bounce Changes) - iReal file           Download (right-click) file and open in iReal Pro Change Sheets PDFs: F Blues (Billie's Bounce Changes) - C instruments

4. Play any additional example of your choice, not to exceed one minute, that demonstrates your understanding of the jazz language, ability to competently voice chord changes, and/or your expressiveness as a soloist.

Piano

1. Play the written piano part from "Jazz Piano", example 1
2. Comp with melody and chords for one chorus of "A Misty Moment" (Jazz Piano, example 2), followed by two choruses of improvisation. This track may be recorded with the included rhythm section audio track (from iReal Pro) or a live rhythm section of your choice, but it must be accompanied.

Accompaniment Sound Files: A Misty Moment - Piano 3 choruses iReal File: A Misty Moment - iReal file           Download (right-click) file and open in iReal Pro

3. Improvise a solo playing 3-4 choruses of up tempo F blues. This track may be recorded with the included rhythm section audio track (from iReal Pro) or a live rhythm section of your choice, but it must be accompanied.

Accompaniment Sound Files: F Blues (Billie's Bounce Changes) - 3 choruses F Blues (Billie's Bounce Changes) - 4 choruses iReal File: F Blues (Billie's Bounce Changes) - iReal file           Download (right-click) file and open in iReal Pro Change Sheets PDFs: F Blues (Billie's Bounce Changes) - C instruments

4. Play any additional example of your choice, not to exceed one minute, that demonstrates your understanding of the jazz language, ability to competently voice chord changes, and/or your expressiveness as a soloist.

Bass
Acoustic bass is preferred, but electric bass is acceptable.

1. Play the written bass part from “Jazz Bass”, example 1
2. Play a walking bass line on “A Misty Moment” (Jazz Bass, ex- ample 2) for two choruses and solo for 1-2 choruses if you choose to. This track may be recorded with the included rhythm section audio track (from iReal Pro) or a live rhythm section of your choice, but it must be accompanied.

Accompaniment Sound Files: A Misty Moment - Bass 3 choruses iReal File: A Misty Moment - iReal file           Download (right-click) file and open in iReal Pro

3. Play a bass line on a latin tune of your choosing for 1 chorus and improvise for at least 1 chorus if you choose to. You may use a live rhythm section or a play-along recording such as Aebersold, iRealPro or Hal Leonard with the bass part removed.
4. Play any additional example of your choice, not to exceed one minute, that demonstrates your understanding of the jazz language, ability to walk or solo over chord changes appropriately, and/or your expressiveness as a soloist.

Drums
For each of tracks 1-5, play 16 measures “trading 4’s” divided alternately as 4 bars of time, 4 bars of solo, etc., within each 16 measure track. See separate Drum Set page for further instructions.

1. Play 16 measures of medium swing. (Quarter note = 120)
2. Play 16 measures of fast swing. (Quarter note = 200)
3. Play 16 measures of shuffle. (Quarter note = 152)
4. Play 16 measures of Bossa Nova. (Quarter note = 152)
5. Play 16 measures of contemporary straight eighth (ECM/fusion). (Quarter note = 100)


6. Play “Big Band Excerpt -- #1” as instructed on the separate Drum Set page. (Quarter note = 200)

Optional:

7. Play 16 measures of jazz waltz. (Quarter note = 144)
8. Play 16 measures of funk or funk shuffle. (Quarter note = 176)

String Audition Requirements

GENERAL INSTRUCTIONS FOR STRING APPLICANTS

1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
2. There is a $10.00 fee to audition. Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
3. Fill out the Student Audition Information Sheet and give it to your teacher.
4. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
5. The Solo, #5, is optional and should be recorded and uploaded only if the student would like to be considered for concertmaster or section leader.
6. If you have any questions contact: {{chairs.data.orchestrachair[0].first}} {{chairs.data.orchestrachair[0].last}}
7. All auditions must be completed and uploaded by {{dates.data.auditionDeadline[0].deadline}}.

Important Guidance regarding all scale tracks: Each scale represents the pitch set required. Repeating the top note vs. not repeating the top, and/or adding extra notes at the beginning or end to setup the bowing is at the participant’s discretion and those choices will not be part of the assessment.

STRING AUDITION MATERIALS

NEW audition material for 2024. The All-State String auditions have been updated for 2024. Be sure you are rehearsing the correct materials! All-Northwest auditions will only be used on odd (All-NW) years.

VIOLIN

1. Three octave A Major scale: Sixteenth notes ascending and descending, slur eight notes per bow. Quarter note = 108
2. Three octave A melodic minor scale: Sixteenth notes ascending and descending, detache’. Quarter note = 92
3. Mozart Symphony No. 35 in D Major, Allegro con spirito, K. 385, half note= 65-75.
4. Beethoven Symphony No. 3, Adagio assai, eighth note=63-66
5. OPTIONAL: play a one-minute excerpt from your solo literature. Only upload if you would like to be considered for concertmaster or section leader.

VIOLA

1. Three octave D Major scale: Sixteenth notes ascending and descending, slur eight notes per bow. Quarter note = 108
2. Three octave D melodic minor scale: Sixteenth notes ascending and descending, detache’. Quarter note = 92
3. Hoffmeister Concerto in D major, Allegro, m.47-59, quarter note=120
4. Bruch Romanze Op. 85, Andante con moto, rehearsal A-B, quarter note=69
5. OPTIONAL: play a one-minute excerpt from your solo literature. Only upload if you would like to be considered for section leader.

CELLO

1. Three octave D Major scale: Sixteenth notes ascending and descending, slur eight notes per bow. Quarter note = 88
2. Three octave E melodic minor scale: Sixteenth notes ascending and descending, detache’. Quarter note = 72
3. Beethoven Symphony No. 8, Tempo di Menuetto, quarter note=120-126
4. Brahms Symphony No. 2, Adagio non troppo, m. 1-15, quarter note=45-50
5. OPTIONAL: play a one-minute excerpt from your solo literature. Only upload if you would like to be considered for section leader.

DOUBLE BASS

1. Two octave F Major scale: Sixteenth notes ascending and descending, slur four notes per bow. Quarter note = 88
2. Two octave E melodic minor scale: Sixteenth notes ascending and descending, detache’. Quarter note = 72
3. Brahms Symphony No. 2, Allegro con spirito, m. 1-66, half note=100
4. Brahms Symphony No. 2, Adagio non troppo, pickup to m.41-56, eighth note=45
5. OPTIONAL: play a one-minute excerpt from your solo literature. Only upload if you would like to be considered for section leader.

HARP

1. Play a G melodic minor scale as written using the same tempo throughout the exercise.
2. Tchaikovsky:Swan Lake, Waltz of the Flowers: meas. 3-33.
3. Mahler: Symphony #5: Adagietto.

Wind and Percussion Audition Requirements

GENERAL INSTRUCTIONS FOR WIND & PERCUSSION APPLICANTS

1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
2. There is a $10.00 fee to audition. Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
3. Fill out the Student Audition Information Sheet and give it to your teacher.
4. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
5. If you have any questions contact: {{chairs.data.bandchair[0].first}} {{chairs.data.bandchair[0].last}}
6. All auditions must be completed and uploaded by {{dates.data.auditionDeadline[0].deadline}}.

WIND & PERCUSSION AUDITION MATERIALS

NOTE: Most of the audition materials have been updated for 2024. Please make sure you are submitting the correct etudes!

All wind auditions may include an optional solo (#4) of their choice. It is not required and will only be used for consideration of principal positions. The solo should be a piece of the student’s choosing not to exceed 1 minute in length. The chosen piece should be relatively difficult for the student but should demonstrate the student’s musical strengths. Pieces from each instrument’s solo repertoire are recommended. There is no solo option for percussion auditions; all four indicated excerpts must be included.

Note that points will be deducted for not playing at indicated metronome speed.

WOODWINDS

Flute:

1. Chromatic Scale – Low C to C4 using slurred sixteenth notes ascending and descending. (Quarter note = 72) Listen to an example
2. F Major Etude, Lento e cantabile, by Kohler, page 10 from SELECTED STUDIES FOR FLUTE by H. Voxman (quarter note = 60)
3. D Major Etude by Anderson, page 41 from MELODIOUS AND PROGRESSIVE STUDIES BOOK II by R. Cavally (quarter note = 100)
4. OPTIONAL Solo Example (you may choose to do a different solo): Johann Sebastian Bach: Sonata in Eb Major Mvt. 1 Beginning to measure 53 (quarter note = approximately 88)

Oboe

1. Chromatic Scale – Low C to High D (two octaves plus one step) using slurred sixteenth notes ascending and descending (Quarter note = 60) Listen to an example
2. Barret Oboe Method, Kalmus Edition – Page 12 number 6 – First 16 measures (Quarter note = 80) Listen to an example
3. Barret Oboe Method, Kalmus Edition – Page 6 number 7 (Quarter note = 80) Listen to an example
4. OPTIONAL Solo Example (you may choose to do a different solo): Paul Hindemith: Oboe Sonata Beginning to Rehearsal number 3

Clarinet

1. Chromatic Scale – Low E to High E (E4) using legato tongued eighth notes ascending and descending (Quarter Note = 144) Listen to an example
2. Adagio non troppo, #13, measure 1 through 16 from THIRTY-TWO ETUDES FOR CLARINET by C. Rose (quarter note = 58)
3. Allegro furioso, #26, measures 1 through 20 without repeats from THIRTY-TWO ETUDES FOR CLARINET by C. Rose (quarter note = 112)
4. OPTIONAL Solo Example (you may choose to do a different solo): Concerto for Clarinet – Mozart - First 20 measures of the clarinet part

Bass Clarinet

1. Chromatic Scale – Low E to C3 using legato tongued eighth notes ascending and descending (Quarter note = 100) Listen to an example
2. G Major Etude, measures 1-16, by Denmitz, #5 from MELODIOUS AND PROGRESSIVE STUDIES BOOK I (quarter note = 68)
3. Allegro assai, #30 from BASSOON STUDIES by J. Weissenborn (quarter note = 92)
4. OPTIONAL Solo Example (you may choose to do a different solo): Sonata in A Minor - Marcello -  Movement 1  - Allegro Section

Bassoon

1. Chromatic Scale – Low Bb to High F using slurred eighth notes ascending and descending (Quarter note = 120) Listen to an example
2. Largo, #39, measures 1 through 23 from BASSOON STUDIES by J. Weissenborn (dotted quarter note = 62-66)
3. Vivace, #27, measure 33 through the end, no repeats from BASSOON STUDIES by J. Weissenborn (quarter note = 96-108)
4. OPTIONAL Solo Example (you may choose to do a different solo): Concerto in Bb – Mozart - 3rd Movement  Beginning to measure 50

Saxophone

1. Chromatic Scale – Low Bb to F3 using slurred sixteenth notes ascending and descending (Quarter note = 92) Listen to an example
2. Andante in A Major, measures 1-16, page 29 by Ferling from SELECTED STUDIES FOR SAXOPHONE by H. Voxman (quarter note = 60)
3. Allegretto in C# Minor, measures 1-31, page 42 by Ferling from SELECTED STUDIES FOR SAXOPHONE by H. Voxman (dotted quarter note = 66-72)
4. OPTIONAL Solo Example (you may choose to do a different solo): Concerto in Eb - Glazounov  - First Page

BRASS

Trumpet

1. Chromatic Scale – Full range of the instrument based on student’s consistent, comfortable range. Recommended: written A3 to written A5. Optional: written F#3 to written C6. (quarter note = 120)
2. In Mia Man Alfin Tu Sei, measures 1 through 21, by V. Bellini, #136 from “The Art of Phrasing” in COMPLETE CONSERVATORY METHODY FOR CORNET AND TRUMPET by J. B. Arban (quarter note = 70-76)
3. Allegro, #1, measures 1 through the first eighth note of measure 17 from TRENTE-SIX ETUDES TRANSCENDANTES by T. Charlier (dotted quarter note = 96-120 )
4. OPTIONAL Solo Example (you may choose to do a different solo): Andante et Scherzo – J.E. Barat – Beginning of the Scherzo to un peu plus vite

French Horn

1. Chromatic Scale – Full range of the instrument based on student’s consistent, comfortable range. Recommended: written G3 to written G5. Optional: written C3 to written C6. Legato eighth notes (quarter note = 120)
2. Andante, measures 1 through rehearsal letter D, #7 from Book 3 in DEUX-CENTS ETUDES NOUVELLES EN SIX CAHIERS by M. Alphonse (quarter note = 60-66)
3. Allegro, #19, measures 1 through measure 20 with no repeats from SIXTY STUDIES FOR HORN by M. Alphonse, ed. F. Gumbert (dotted quarter note = 60)
4. OPTIONAL Solo Example (you may choose to do a different solo): Horn Concerto No. 3 in Eb, K. 447 – W.A. Mozart – Movement 1 – Measure 28-69

Trombone

1. Chromatic Scale – Full range of the instrument based on student’s consistent, comfortable range. Recommended: written F2 to written F4. Optional: written F2 to written Bb4, legato tongued quarter notes (quarter note = 132)
2. Vocalise No. 1, measures 1 through beat 2 of measure 18, by E. Girtain IV (quarter note = 76-84)
3. Alle breve by Bohme, measures 1 through 16 with no repeats from SELECTED STUDIES FOR TROMBONE by H. Voxman (half note = 74-80)
4. OPTIONAL Solo Example (you may choose to do a different solo): Andante et Allegro – J. E. Barat – Measures 139 - end

Euphonium (Bass Clef)

1. Chromatic Scale – Full range of the instrument based on student’s consistent, comfortable range. Recommended: written F2 to written F4. Optional: written F2 to written Bb4, legato tongued quarter notes (quarter note = 132)
2. Adagio cantabile by Pietzsch, measures 1 though 16, page 22, from SELECTED STUDENTS FOR BARITONE by H. Voxman (dotted quarter note = 80)
3. Page 27, measures 1 through 18, by Muller from SELECTED STUDIES FOR BARITONE by H. Voxman (dotted quarter note = 88 or faster)
4. OPTIONAL Solo Example (you may choose to do a different solo): Suite for Baritone - Morceau de Concours – J. E. Barat – Measures 118 - end

Euphonium (Treble Clef)

1. Chromatic Scale – Full range of the instrument based on student’s consistent, comfortable range. Recommended: written F2 to written F4. Optional: written F2 to written Bb4, legato tongued quarter notes (quarter note = 132)
2. Adagio cantabile by Pietzsch, measures 1 though 16, page 22, from SELECTED STUDENTS FOR BARITONE by H. Voxman (dotted quarter note = 80)
3. Page 27, measures 1 through 18, by Muller from SELECTED STUDIES FOR BARITONE by H. Voxman (dotted quarter note = 88 or faster)
4. OPTIONAL Solo Example (you may choose to do a different solo): Suite for Baritone - Morceau de Concours – J. E. Barat – Measures 118 - end

Tuba

1. Chromatic Scale – Low F to High Bb using legato tongued eighth notes (quarter Note = 80)
2. Andante cantible, measures 1 through 18, #9 from 70 STUDIES FOR BBFLAT TUBA by V. Blazhevich (quarter note = c. 60)
3. Andante, measures 1 through 18, #6 from 70 STUDIES FOR BBFLAT TUBA by V. Blazhevich (quarter note = 108-120)
4. OPTIONAL Solo Example (you may choose to do a different solo): Sea Dreams – Barbara York – Movement 3: Measures 1-46. Available from Cimarron Music

Percussion

1. Snare Drum – Intermediate Snare Drum Studies by Mitchell Peters (TRY Publications) Pg. 34 - #22, m. 36-end
2. Two-Mallet – Royal Fireworks by G. F. Handel. mm. 1-37, play only the first note of measure 37
3. Four-Mallet – Marimba: Technique Through Music by Mark Fork (Innovative) Pg. 10-11 – play all, including repeats
4. Timpani - Fundamental Method for Timpani by Mitchell Peters (Alfred) Pg. 140 - #13, play all

For questions or more information, contact the band chairman: {{chairs.data.bandchair[0].first}} {{chairs.data.bandchair[0].last}}