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PG Percussion Handbook 2015–2016
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TABLE OF CONTENTS
TABLE OF CONTENTS .................................................................................................................................... 1
INTRODUCTION FROM THE HEAD OF TIMPANI AND PERCUSSION .............................................................. 2
QUICK START GUIDE ..................................................................................................................................... 3
TEACHING STAFF .......................................................................................................................................... 4
LEAVE OF ABSENCE PROCEDURE .................................................................................................................. 5
SPECIAL CIRCUMSTANCES PROCEDURE ....................................................................................................... 6
ASIMUT ......................................................................................................................................................... 7
STUDENT RECORDINGS ................................................................................................................................ 7
CONCERTS DEPARTMENT ............................................................................................................................. 8
PRIZES ......................................................................................................................................................... 12
OTHER DEPARTMENTAL INFORMATION .................................................................................................... 12
POSTGRADUATE INFORMATION ................................................................................................................ 14
ONE YEAR COURSE ..................................................................................................................................... 17
TWO YEAR COURSE – YEAR 1 ..................................................................................................................... 29
TWO YEAR COURSE – YEAR 2 ..................................................................................................................... 41
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INTRODUCTION FROM THE HEAD OF TIMPANI AND PERCUSSION Welcome to the Timpani and Percussion Department Handbook for Postgraduate students, which will give students, professors and examiners alike a comprehensive guide to practical examinations, coursework and examination requirements. In the multi-‐faceted world of Timpani and Percussion, it is important to have a balanced curriculum enabling the student to experience and digest as much related material as possible in order to gain a focused plan of action. We are fortunate to have many of the world’s finest players and teachers to deliver this curriculum, whilst inviting to the Academy visiting artists and professors to keep the course as pertinent and relevant as possible. During the first year of our course, strong technical and musical habits will be encouraged so that good practice regimes and listening skills will enable the student to develop over subsequent years. Related specialist study areas (Solo Percussion/Marimba, Baroque Timpani, Drumset, Latin American and Ethnic percussion) will also be introduced in year one together with faculty activities such as percussion ensemble, orchestral repertoire classes, chamber music classes and masterclasses, so that a thorough foundation will be laid. It is expected for students to consolidate the in-‐depth tuition they will receive with a rigorous self-‐regulated practice regime. This is a pre-‐requisite of successful studentship at the Royal Academy of Music. In years 2, 3, and 4, higher levels of technical and musical ability will have been achieved, encouraging students to experiment more with interpretative and stylistic considerations, culminating in an expressive maturity and professionalism. Employability is key to the ethos of the department and we would hope students will be comfortable with the prospect of a professional audition and a 30 minute solo recital by the time they reach graduation. Should students show exceptional ability in related study areas, due consideration will be given to whether they should specialise or continue with all in joint study. Our aim is to expose students to a variety of related study areas whilst not compromising standards. We hope to enable them to have a full, rewarding and varied career by providing them with the necessary skills needed for their continual development. NEIL PERCY Head of Timpani and Percussion
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QUICK START GUIDE DEPARTMENT CONTACTS Neil Percy, Head of Timpani and Percussion Mobile: 07973 327629 | Room 218 | Email: [email protected] (The above contact information is for students ONLY and must NOT be passed to anyone without consulting the Head of Department first) Tara Savile, Woodwind, Brass, Percussion and Timpani Administrator Tel: 020 7873 7320 | Fax: 020 7873 7374 | Room 108 | Email: [email protected] KEY DATES Autumn term Monday 14th September – Friday 27th November
2015 (Enrolment commences on 7th September 2015)
Spring term Monday 4th January – Friday 18th March 2016 Summer term Monday 18th April – Friday 8th July 2016 Summer Examination Period 23rd May – 10th June 2016 (please note that these dates are subject to change at any time) You are expected to attend all timetabled activities and academic classes. Absences may affect your progression to the next stage of your programme of study. CHECK LIST • Store the contact details of your principal study professors in your phone. • Store the contact details of your department administrator in your phone. • Check your orchestral commitments and store the Concert and Orchestra Manager’s contact details in your phone (Rosie Larkins 020 7873 7426, [email protected]) • Check dates of visiting professors classes and masterclasses for the purposes of participation and attendance. • Check your Academy e-‐mail address every day, including during the vacation periods. • Check closing dates for internal and external competitions and prizes.
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TEACHING STAFF Andrew Barclay Tony Bedewi
Percussion/Orchestral Repertoire (Co-‐Principal Percussion, London Philharmonic Orchestra) Timpani (Co-‐Principal Timpani, London Symphony Orchestra)
Simon Carrington
Timpani/Percussion/Orchestral Repertoire (Principal Timpani, London Philharmonic Orchestra)
Paul Clarvis
Drumset, Latin-‐American/Ethnic Percussion (International Soloist and Recording Artist)
Colin Currie
Solo/Duo/Concerti/Chamber Music (International Soloist and Recording Artist)
Peter Erskine
International Drumset Consultant (International Soloist and Recording Artist)
David Hassell
Drumset, Latin-‐American/Ethnic Percussion (Session Musician and renowned Clinician)
Benedict Hoffnung
Baroque Timpani/Historical Performance (Principal Timpani, London Mozart Players/Academy of Ancient Music)
Joe Locke William Lockhart
International Vibraphone Consultant (International Soloist and Recording Artist) Timpani/Percussion/Orchestral Repertoire (Principal Timpani, English National Opera)
Neil Percy
Head of Department/Percussion/Orchestral Repertoire/Director of Percussion Ensemble (Principal Percussion, London Symphony Orchestra)
Eric Sammut
Marimba, Chamber Music (Principal Percussionist, Orchestra de Paris)
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LEAVE OF ABSENCE PROCEDURE You will need to apply for Leave of Absence if you are going to take any time away from the Academy during the term, regardless of whether or not you will miss any Academy activities (academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will only be allowed in exceptional circumstances and can be applied for by filling out a Leave of Absence form (available on AIR and from the General Office). Some guidance on completing a Leave of absence form:
• You must apply for Leave of Absence and obtain all relevant signatures as far in advance as possible. • It is your responsibility to check the dates of your assessments and to collect these signatures. • Your Tutor will notify you via email once the process is complete. • You may not go on leave until you have received this notification from your Tutor. • If it is subsequently found that you have missed a timetabled assessment for which the date had been
published in advance, but that you have not declared on this form, then you will be automatically referred (failed) in the relevant component.
• You must inform your Principal Study teacher before signing this form and collecting the signatures. • In the case of emergencies or last minute external opportunities, go straight to your Tutor who will advise
you accordingly. In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or professor(s) that you have been granted Leave of Absence from a particular class, lesson, rehearsal, or performance. Any regular timetable clashes must be brought to the attention of your Tutor immediately. If you are ill and will miss a class or activity, you should contact the relevant module leader, professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you return to the Academy you should report to your Tutor as soon as possible. Academic classes are suspended for one week each term, but your presence will still be required for performance-‐based activities. Any Leave of Absence requests for this time must be applied for in the usual way. Please note that the summer term does not end until 10 July 2016. You will therefore be expected to be available to attend any end of year tutorial interviews or to collect any correspondence that is left in your pigeon hole up until this date. The Academy will not be responsible for any information which a student fails to receive in the event that they left the Academy early without making appropriate arrangements.
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SPECIAL CIRCUMSTANCES PROCEDURE
The Special Circumstances Committee considers applications from students in accordance with the Special Circumstances Regulations, for the following reasons: • extenuating circumstances which may have affected student performance in assessments • extensions to deadlines for the submission of work for assessment • the deferral of assessments • appeals against penalty marks where the reasons were beyond your control. You must submit a completed application form no later than 10 working days from the imposition of a penalty mark; 10 working days before the published deadline for submission of academic work, or 10 working days before the published date of an assessment†. Please note that retrospective extensions and waiving of lateness penalties will not be permitted except in very serious cases and where you have provided evidence to explain why you were unable to submit within the required timeframe. 1. Applications must be signed by you and your Tutor and be accompanied by supporting evidence before it is
submitted to the Academic Secretary. If the form is missing either signature, it will be returned to your pigeon hole.
2. If your form requires medical evidence to be provided, you will be given a deadline to provide this. If you do not meet this deadline without good reason then your application will be dismissed.
3. If you are citing a medical issue, you must provide relevant evidence from a medical practitioner which confirms the relevant timescales and a formal diagnosis. A letter which merely states that you visited the practice will not be accepted.
4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon) and, when deemed appropriate, information from the student’s Tutor, the Concerts Department or any other Academy department shall be sought prior to the meeting.
5. SCC will either accept or reject the application and agree any particulars in relation to extensions or penalties as appropriate. When applications are rejected, a full explanation will be given.
6. Students will normally be informed of the outcome within two working days of the meeting by the Chair of the Committee via Academy email* and their Tutor and other relevant members of staff (i.e. Module Leaders) copied in.
7. The case outcomes are circulated, normally within 2 working days of the meeting, to representatives from the Registry so that a note of the outcome can be placed on the student file.
8. Students have the right of appeal against decisions of the Special Circumstances Committee; via the Academic Appeals Procedure (see the Regulations).
• All correspondence documenting the outcome of applications will be copied to the relevant Registry staff,
relevant Tutor and any Module Leaders/other administrative staff concerned. • If you are making an application for a deferral of an assessment due to unforeseen circumstances such as
illness on the day of the assessment, you must provide an application with supporting medical evidence within five working days of the assessment taking place.
Please see the guidelines on AIR for further information on making applications.
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ASIMUT You must check your ASIMUT account daily for details of your academic and departmental classes and activities. It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary penalty, ranging from a temporary ban from the room booking system to temporary suspension of the studentship, depending on the severity of the case. Penalties will be determined by the Programme Management Team and communicated to students by their Programme Tutor.
STUDENT RECORDINGS You can access recordings or large scale public performances from the Library for educational purposes. The Academy cannot provide you with your own copies of these performances for copyright and resource reasons. Exceptions may be made in the case of performances with rarity value such as concertos but requests must be submitted to the Concerts Department at least one calendar month in advance of the performance. This will allow the Concerts Department time to consider any copyright clearance issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and recording equipment. If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday lunchtime concerts), requests may be made by students to record it but in audio format. In order to request this you will need to ensure that all relevant consent forms and copyright clearance is completed at least one calendar month in advance of the performance. You are able to record yourselves on Academy premises (in practice rooms and concert venues) either using their own or loaned equipment (in this case you would retain the copyright on the recordings and accept all responsibility for any necessary copyright clearance required).
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CONCERTS DEPARTMENT Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-‐of-‐year principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)
Concerts Department Director of Artistic Planning – Ms Nicola Mutton, Room G6 Tel: 020 7873 7375 [email protected] Responsible for the artistic planning of all Academy performance activity, including collaborations with festivals, outside concert series and professional orchestras and venues, as well as the overall management of the Concerts Department. Concert proposals should be submitted to the Director of Artistic Planning for consideration by Artistic Planning Group. Senior Concert & Orchestra Manager -‐ Ms Liz Williams, Room G7 Tel: 020 7873 7326 [email protected] Concert & Orchestra Manager -‐ Ms Rosie Larkins Room G7 Tel: 020 7873 7426 [email protected] Responsible for the running of all orchestral and ensemble projects, allocation of students to projects, production of all schedules and orchestral management of rehearsals and concerts. They are the point of contact for all schedule enquiries and leave of absence requests. Orchestral Librarian – Mr Stuart Garden, Room G7 Tel: 020 7873 7414 [email protected] Responsible for the Orchestral Library and provision of music for all Academy ensemble and orchestral projects. Also responsible for termly orchestral auditions. Concerts & Programmes Administrator – Ms Kathleen Rule, Room G7 Tel: 020 7873 7327 [email protected] Responsible for the provision of concert programmes, Performing Right Society declarations and working with the Director of Artistic Planning. Concerts & Prizes Administrator – Ms Francesca Johnson, Room G8 Tel: 020 7873 7308 [email protected] Responsible for the programming and administration of all lunchtime and early evening student concerts and Academy prizes and competitions. External Bookings Manager – Ms Lizzie Sambrook, Room G8 Tel: 020 7873 7304 [email protected] Responsible for the External Booking service, which exists to offer performance opportunities outside of the Academy to students. These opportunities include recitals, choral society concerts, concertos and background music for corporate and private events. PERFORMANCE
The Concerts Department The Academy’s busy performance schedule is run by the Concerts Department. Training at the Academy prepares students for an increasingly demanding and diverse professional life and encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the flow of repertoire for undergraduate and postgraduate students with the aim that all concerts, rehearsals, training sessions and sectionals are well-‐balanced over a student’s period of study at the Academy. Training is delivered through:
• Repertoire sessions for wind, brass and percussion students (all students).
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• Sectional training with section principals from the UK’s major orchestras. • Public performances through both ‘quick-‐learn’ projects (designed to reflect the demands of the
orchestral profession), and intensive projects. Projects this academic year will be conducted by distinguished visiting conductors and directors including Edward Gardner, Robin Ticciati, Marin Alsop, Murray Perahia, Nicholas Collon, Oliver Knussen. Trevor Pinnock, Sir Mark Elder, Jane Glover, Semyon Bychkov, and Yan Pascal Tortelier.
First-‐year string undergraduates take part in weekly String Orchestra rehearsals, as well as forming chamber ensembles for chamber music training. First-‐year wind, brass and percussion students participate in weekly Orchestral Repertoire classes (with second-‐year and third-‐year undergraduate students) in which staff and visiting specialists introduce staples of orchestral repertoire and work on orchestral techniques. Orchestral auditions (autumn and spring terms) are a means of deciding seating for all orchestras. OF MUSIC PERFORMANCE PROTOCOL This protocol is designed to set out clearly what is expected of students involved in giving concerts and taking part in other orchestral and chamber music projects at the Royal Academy of Music. Students are expected to read this document and refer to it as appropriate. The protocol has been designed to ensure that all students gain the maximum benefit from their involvement in ensemble activity and are fully trained to meet the demands of the profession.
General Practice for Orchestral and Chamber Music Projects
1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble schedules will be issued at the beginning of the second week of term for all students. Further orchestral auditions will take place in the first week of the spring term and project schedules will be issued in the second week of this term. All summer term schedules will be published by the final week of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band Room and on AIR. Students are expected to keep a regular check on the noticeboards for any last-‐minute logistical alterations. Details of rehearsals will be accurate at the time of going to print, but may be subject to alteration. Any schedule alterations will be notified by email or text message. Communication will only be done via Academy emails, so students must check this regularly. If a student has a mobile phone, voicemail is essential in order to be contactable in an emergency.
2. Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-‐of-‐year principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)
Students must telephone the Concert and Orchestra Managers, Liz Williams on 020 7873 7326 (strings, wind & brass) or Rosie Larkins on 020 7873 7426 (percussion, harp, keyboard, guitar, accordion) as soon as possible before a session is due to begin to inform them of absence due to illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the Concert and Orchestra Manager if you miss a rehearsal due to illness. If you are late due to problems on London Transport, you will still be issued with a penalty mark. However, in extenuating circumstances, this may be appealed through the Special Circumstances Committee. For an appeal to be considered, students will be required to produce official documentation to substantiate the appeal.
3. One-‐to-‐one lessons, coaching sessions or classes must not be arranged during scheduled rehearsals. If another Academy commitment has been arranged before the publication of the orchestral or chamber music schedules, students must see the relevant Concert and Orchestra Manager within five working days of the date the schedule was produced to resolve the problem.
4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant Programme Tutor before agreeing to any outside work, even if at the time of engagement your diary appears clear. If release has not been granted, a student may be prevented from participating in the outside work. Whilst every effort will be made to accommodate outside engagements, this may not always be possible. You must not ask the conductor about missing any part of a rehearsal.
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5. All music is kept in G7 and is generally available one month before the commencement of any given project. If parts are taken out for practice, the signing-‐out sheet must be completed. Folders are not to leave the office. Students are responsible for keeping their own music safe. Folders will be placed on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be put in the folder, which should be closed for collection. The folders must remain on the stand after the rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is expensive and missing parts will be charged to the student responsible for them. Soft pencil only should be used to mark parts.
6. Students are expected not only to learn their allotted part before a project begins, but also to be familiar with the whole work. Recordings of all programmed works are usually available in the Academy library. Recordings are made of all Academy concerts and an archive copy is held in the library. Due to copyright laws, you are not permitted to make copies of these recordings.
7. Dress: Female students -‐ please note that you are all required to have a long black dress or smart long black trousers and black top for Academy concerts. Shoulders and backs should be covered. Not sleeveless, not strapless, and with due consideration of professional appearance and sense of occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery should be in keeping with dress code.
Male students – you will all be required to wear a dinner jacket (with a white shirt and black bow tie) or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes and black socks are also required.
The Academy does not require men to have acquired a tail suit, but it is likely that professional orchestral engagements will need you to have this available, with white dress shirt and white bow tie.
8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for external concerts.
Concert Requests If you have a concert project in mind that you would like to put on at the Academy with fellow students (lunchtime, early evening or main evening concert), you can submit an application to the Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime Concert Series, which are our high-‐profile Diary of Events series, with a strong emphasis on chamber music. Proposals should show imaginative and balanced programming, which will be an important part of the consideration process. Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director of Artistic Planning. If any of the required information is not supplied then proposals will be returned for resubmission before the next proposal deadline. Termly deadlines for submissions are: Wednesday 24th September (for Spring/Summer Term concerts) Wednesday 28th January (for Summer Term concerts) Wednesday 6th May (for Autumn Term 2015 concerts) Late submissions will not be considered.
The Artistic Planning Group will consider all concert requests and students will be notified of the result in writing. Please be aware that Academy-‐scheduled events will be given priority and their proximity to your preferred time period will have a bearing on whether or not they are accepted.
Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your concert.
Other Informal Performance Opportunities Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run repertoire and to gain performing experience. They will not be assessed and, although open to the public, they will only be advertised within the Academy. Students will need to apply to play in these concerts by filling out a yellow
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concert voucher and submitting it to the Concerts and Prizes Administrator. Concert slots will be allocated according to availability and applications can be submitted at any time. Each performer in a group will be notified of the date of their performance via their Academy email address or in discussion with the Concerts and Prizes Administrator and you will be required to confirm the group’s availability in writing. It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber organ etc.) to ensure they are provided in the relevant venue and tuned to the correct specification. This must be done through the General Office as soon as the concert date is confirmed. Failure to provide these details in good time may result in the instrument being unavailable.
Vocal Faculty students are expected to supply their own copies of text and translations or a précis. Fifteen copies should be submitted to the Events Office (next to the Duke’s Hall) 24 hours before the concert.
Concert vouchers can be found in the General Office and on AIR and need to be completed and submitted to the Concerts and Prizes Administrator in Room G8. They must be fully completed, with the necessary signatures, otherwise they will not be considered.
Concert dates will be advertised on AIR and any free spaces will be highlighted. On the day of the concert all participants should report to the stage manager ten minutes before the start of the concert. Failing to adhere to these conditions may result in disciplinary action.
External Bookings Service The Academy offers a booking service through which students are offered performance opportunities. These include lunchtime and evening recitals at festivals and established concert venues, vocal and concerto solo work for various UK music societies, and entertainment for private and corporate events. These bookings provide valuable performance experience, as well as the chance to earn some money. Ensembles and soloists must be approved by a Head of Department or professor before commencing work through the External Bookings Manager. This service is intended to help students gain experience and make contacts for the future. Students are expected to fulfill engagements in a professional manner and coaching will be provided where appropriate. For further information about external engagements, contact Lizzie Sambrook, External Bookings Manager in the Concerts Department at the Academy. Academy Engagements, Including External Engagements – Right to work in the UK Before taking on any work engagement through the Academy, all students must present their passport or other evidence of the right to work in the UK. If you have not already done so at enrolment, you must present your documents to the relevant administrator, or the External Bookings Manager in the case of external engagements. Once documents have been checked and copied you will be permitted to work. International students studying at the Academy on Tier 4 visas can now perform unpaid and paid musical engagements provided it is organised through the official Academy channels. The placement must be considered to be part of the student’s professional development, and therefore logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for all performance-‐related work, signed off by their Head of Department. Three copies of this documentation must be taken – one for the Registry, one for the External Bookings Office and one for student portfolios. Tier 4 students are not permitted to undertake any work on a self-‐employed basis, and therefore any payment due must come through the Academy’s payroll, and is subject to deductions in respect to National Insurance and VAT. Students must also ensure that they do not exceed their 20 hours work allowance per week.
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The above regulation applies to all students who are coming to study at the Academy from countries outside the EEA (European Economic Area). In addition, Bulgarian and Romanian students will need to obtain an Accession Worker Card from the UK Border Agency (Application Form BR3) before they can take any paid work. This document must be presented to the Human Resources Department who will check the card and take a copy. If you do not have a passport or would like further information regarding what alternative documents you can bring, please contact the Human Resources Department on [email protected]. For more information about the employment conditions for Tier 4 students, please refer to the following link: http://www.ukba.homeoffice.gov.uk/studyingintheuk/adult-‐students/conditions/
PRIZES There are four prizes on offer to students annually, which will be awarded after due deliberation by all of the adjudicators on completing the examinations/recitals. NB: A student may only win each prize once. Zildjian Prizes The Zildjian prizes are awarded to the two students with the highest mark in their Timpani and Percussion examination/recital. The highest mark collects the First Prize of $2,000. Second Prize is an invitation to Zildjian International in Sunningdale where the recipient will be given a guided tour, lunch and invited to select a set of cymbals of their choice. The Academy is honoured to be associated with the Zildjian Cymbal Company and is grateful for its generous support. James Blades Award for Timpani This prize is awarded to the student who in the opinion of the adjudicators has performed ‘exceptionally’ on Timpani, regardless of his or her overall mark. The winner of this prize will receive a cheque for £200 (approx) The Academy is very grateful for the generous support from the James Blades Trust James Blades Award for Percussion This prize is awarded to the student who in the opinion of the adjudicators has performed ‘exceptionally’ on Percussion, regardless of his or her overall mark. The winner of this prize will receive a cheque for £200 (approx) The Academy is very grateful for the generous support from the James Blades Trust OTHER DEPARTMENTAL INFORMATION
Principal and Second Study lessons
It is your responsibility to make contact with your allocated professor(s) in order to arrange lesson times and locations. This must be done within the first two weeks of the autumn term. Contact details of all staff are available from Tara Savile (Administrator to the Timpani and Percussion Department) in room 108. Any problems in establishing contact with a professor should be reported to Tara immediately.
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Attendance and class participation A class profile component is built into the assessment of students in the Timpani and Percussion. This allows professors to award students for preparation, class participation and levels of progress not measurable through other means of assessment. Dates and details of lessons, classes and additional masterclasses are displayed on the percussion noticeboard situated outside the percussion studio which should be consulted on a daily basis. Any requests for references from the Head of Percussion should be submitted with at least 10 days notice. The Percussion Administrator often receives requests for teachers. Please inform her if you wish to be put forward for such work. Please also ensure you notify the Percussion Administrator, Concerts and Orchestra Manager and the Registry of any changes to your contact details (particularly your mobile telephone number) throughout the year as these methods of communication will also be utilised, particularly to convey urgent information.
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POSTGRADUATE INFORMATION Individual Lessons As timpani and percussion are taught in tandem as a first study, their allotted time for tuition must be shared equally. Students will receive 45 minutes per week on timpani, (or 90 minutes per fortnight), and 45 minutes per week on percussion, (or 90 minutes per fortnight). Students who have chosen a timpani or percussion ‘only ‘ course will receive 90 minutes per week on their chosen instrument resulting in a more comprehensive study of the repertoire lists and its related techniques and musical styles. Repertoire Repertoire unfamiliar to a postgraduate student new to the Academy (selected from the following lists) will provide the starting point for creating a repertoire list specific to each student. After detailed work on these pieces during the year, a tailored examination list will be created to service the need of the individual student and reflect the current demands of the profession. (Repertoire marked in bold represents material that will only be studied at postgraduate level, aimed more at BMus Academy students continuing with a year of postgraduate study, but available to all Postgraduate students.) Equipment and Scores The Royal Academy of Music provides excellent facilities for Timpani and Percussion students including access to ‘quality’ instruments for practice and performance. It is expected that students will treat these instruments with care and consideration and return them after use to the appropriate location. Students must furnish themselves with a near-‐professional range of sticks, mallets and music that will meet the demands of this course. PROFESSIONAL DEVELOPMENT ACTIVITY ‘Professional Development Activity’ is at the core of your Academy experience and we expect it will form the backbone of your Professional Portfolio. Apart from your individual practice and work with your teacher, it is likely to account for most of the time you spend working at the Academy. It is formatively assessed (thus does not directly contribute to your degree result, which is determined by final assessments only), but you must pass in order to gain the necessary credits for the degree. Your transcript will record a single Professional Development Activity Profile mark. There are five key areas, which each department handles differently according to professional preparation requirements.
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SKILLS ONE and TWO (Technical and Synthetic)
REQUIREMENTS (including minimum required to pass)
Feedback mark (Y/N)
Written report (Y/N)
Two-‐year students (1st year)
Participation in Academy Projects and/or external engagements as directed by Neil Percy.
N N
Two-‐year students (2nd year)
Participation in Academy Projects and/or external engagements as directed by Neil Percy.
N N
One-‐year Students Participation in Academy Projects and/or external engagements as directed by Neil Percy.
N N
EXTERNAL PERSPECTIVES (Masterclasses etc.)
REQUIREMENTS (including minimum required to pass)
Feedback mark (Y/N)
Written report (Y/N)
Two-‐year students (1st year)
Participation in classes from International Consultants, Visiting Professors, guest artists and performers. Attendance is compulsory for all students.
N N
Two-‐year students (2nd year)
Participation in classes from International Consultants, Visiting Professors, guest artists and performers. Attendance is compulsory for all students.
N N
One-‐year Students Participation in classes from International Consultants, Visiting Professors, guest artists and performers. Attendance is compulsory for all students.
N N
COLLABORATIVE WORK
REQUIREMENTS (including minimum required to pass)
Feedback mark (Y/N)
Written report (Y/N)
Two-‐year students (1st year)
Participation in performances with RAM Percussion Ensemble, (including duo, trio or mallet chamber groups). In addition students will be assessed on their performances/response to coaching and rehearsals.
N N
Two-‐year students (2nd year)
Participation in performances with RAM Percussion Ensemble, (including duo, trio or mallet chamber groups). In addition students will be assessed on their performances/response to coaching and rehearsals.
N N
One-‐year students Direct assessment of performances with RAM Percussion Ensemble, (including
N N
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duo, trio or mallet chamber groups). In addition students will be assessed on their performances/response to coaching and rehearsals.
SELF-‐GENERATED PERFORMANCE or RECORDING
REQUIREMENTS (including minimum required to pass)
Feedback mark (Y/N)
Written report (Y/N)
Two-‐year students (1st year)
All first-‐year postgraduates (and one-‐year students) are encouraged to give an assessed concert during the year, and/or to engage with recording projects using solo or duo repertoire.
Two-‐year students (2nd year)
Students are encouraged to engage with recording projects using solo or duo repertoire.
One-‐year students All first-‐year postgraduates (and one-‐year students) are encouraged to give an assessed concert during the year, and/or to engage with more recording projects using solo or duo repertoire.
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ONE YEAR COURSE PRINCIPAL STUDY* *All components of Principal Study carry a mandatory pass requirement Timpani (6 hours per term) Lessons will be centered on the introduction and development of basic technique and musical awareness through the repertoire listed below. In addition students should work through the studies of Delecluse, Alan Cumberland, Nick Would, Knauer and Friese. A thorough knowledge of the entire repertoire list will be expected, after detailed work on the following pieces during the year: Bartók Concerto for Orchestra, Piano and Violin Concerti, and The Miraculous Mandarin Beethoven Symphonies Nos 1-‐9, Missa Solemnis, Egmont, Fidelio and Leonora 2 and 3 Overtures, Violin
Concerto, Piano Concertos Nos 1,3,4 and 5 Berlioz Symphonie Fantastique Bernstein Chichester Psalms, West Side Story, Candide Brahms Symphonies Nos 1+4 and German Requiem Britten Young Person’s Guide, War Requiem, Spring Symphony and Nocturne Bruckner Symphonies Nos 6-‐9 Dvořák Symphonies 7-‐9, Elgar Enigma Variations Hindemith Symphonic Metamorphoses Janáček Glagolitic Mass, Sinfonietta and Operas Mendelssohn Symphonies Nos 3 and 4, Midsummer Night’s Dream, Hebrides Overtures Mahler Symphonies Nos 1-‐9 Mozart Symphonies Nos 39 and 41, Magic Flute Overture Orff Carmina Burana Prokofiev Symphonies Nos 5 and 6 Rachmaninov Symphony No 2 and Symphonic Dances Schubert Symphonies Nos 8 and 9 Schumann Symphonies Nos 3 and 4 Tchaikovsky Symphonies Nos 4, 5 and 6 Shostakovich Symphonies Nos 1,5,6,7, 11 Sibelius Symphonies Nos 1,2,5,7 Violin Concerto and Finlandia Strauss Ein Heldenleben, Tod und Verklarung, Also sprach Zarathustra, Don Juan, Rosenkavalier Suite and Opera excerpts (Salome etc) Stravinsky Firebird Suite (1911 +47), The Rite of Spring Wagner Overtures and excerpts from The Ring Walton Symphony No 1 Tippett Concerto for Orchestra
Baroque Timpani (One hour per term + one three hour class) JS Bach Easter Oratorio, Christmas Oratorio, Third Suite for Orchestra, 4th Suite for Orchestra Beethoven Symphony No1, Symphony No 2, Symphony No 3, Symphony No 4, Mass in C Handel Coronation Anthems, Israel in Egypt, Messiah Haydn Symphony No 103, Symphony No104, Creation Purcell Ode to St Cecilia’s day, The Fairy Queen Mendelssohn Symphony No 3, Symphony No 4 Mozart Serenata Noturna, Symphony No 36, Symphony No 39, Symphony No 41, Requiem Schubert Symphony No 3, Symphony No 8, Symphony No 9 Schumann Symphony No 4
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Percussion (7 hours per term)
Snare Drum Rudimentary skills, rolls, dynamics, control, sound and strong time within a musical framework will be addressed using relevant material by Morrello, Stone, Blackley, Moeller, Sholle, Wilcoxon, Gladstone, Goldenberg and Bailey etc. The relationship between essential technique and repertoire will be explored together with skills that connect directly to many other percussion instruments. There will be detailed work on the following repertoire list and any outstanding technical problems will be addressed. The relationship of technique and musicality in playing the set repertoire will be high on the agenda, concentrating on interpretative skills and musical thinking by the student. The following repertoire for snare drum and tuned percussion will be studied in detail, with additional score, CD and, where possible, live study, in conjunction with Assorted Percussion study and Faculty Activity professors. Bartok Concerto for Orchestra, Piano Concerto 1+ 2, and The Miraculous Mandarin Berg Violin Concerto and Wozzek Bernstein Age of Anxiety (Symphony No 2) Candide Overture, Serenade Borodin Polovtsian Dances Britten A Young Person’s Guide, Sinfonia da Requiem, Gloriana, A Midsummer Night’s Dream.
(High Drum) and War Requiem Copland Billy the Kid and Rodeo and Symphony No 3 Debussy Iberia Elgar Enigma Variations and Cockaigne Falla Three Cornered Hat Gershwin An American in Paris, Piano Concerto, Rhapsody in Blue Holst The Planets Ives Three Places in New England Janáček Taras Bulba Orff Carmina Burana Kodály Hary Janos Mahler Symphony No 3 and 6 Nielsen Symphony No 5 and Clarinet Concerto, Prokofiev Peter and the Wolf, Lt. Kije, Symphony No 5, Romeo & Juliet (complete) Rachmaninov Symphonic Dances and Symphonies Nos 1 and 2 Ravel Rhapsodie Espagnole, Valses Nobles et Sentimentales, La Valse, Bolero and Pictures at an Exhibition Rimsky-‐Korsakov Capriccio Espanol and Scheherezade (complete) Rossini Thieving Magpie Overture Shostakovich Symphonies Nos 1, 5, 6, 7, 8, 10, 11 15 and Festival Overture Strauss Rosenkavalier Suite Stravinsky Petrushka (1911 + 47), A Soldier’s Tale Suppé Pique Dame Tchaikovsky 1812 Overture Walton Belshazar’s Feast, Crown Imperial Webern 6 Orchestral Pieces Williams Star Wars Tuned Percussion Scales*, arpeggios*, related technical exercises, mallet selection and sound projection using relevant material by Hamilton Green, Goldenberg, Friedman, Samuels, Stevens, Becker, and Bailey etc. The related techniques and movement of each tuned percussion instrument will be studied establishing a thorough basis of knowledge and understanding in conjunction with detailed work on the following repertoire:
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Adams Century Rolls (marimba), Harmonielehre (marimba) Bartók Music for Strings, Percussion and Celeste, Wooden Prince (Suite) Bluebeard’s Castle Berg Lulu (vibraphone), Wozzeck, Three pieces for Orchestra Bernstein Quiet Place Suite, Candide Overture, Chichester Psalms and Age of Anxiety, Symphonic
Dances from West Side Story and Prelude, Fugue and Riffs vibe+xylo for both pieces + West Side Story (arranged Crees)
Brahms/Schoenberg Quartet for Orchestra Britten A Young Person’s Guide, Four Sea Interludes, Prince of the Pagodas and Soirées Musicales Copland Appalachian Spring and Hoe Down Debussy La Mer Dukas Sorcerer’s Apprentice Elgar In the South glock and Wand of Youth Suites 1+2 Khachaturian Gayne Ballet Gershwin Piano Concerto, An American in Paris and Porgy and Bess (complete opera) Glazunov The Seasons Hindemith Kammer Music Holst The Planets xylo+glock Janáček The House of the Dead Kabalevsky Colas Breugnon Overture Kodály Hary Janos Mahler Symphony No 6 xylo Messiaen Oiseaux Exotiques xylo Turangalîla Symphony vibraphone Couleurs de la Cité Céleste xylo
and Chronochromie xylo Prokoviev Alexander Nevsky, Piano Concerto No 1, Romeo & Juliet (complete) xylo+glock Symphony
No 7 xylo+glock Rachmaninov Symphonic Dances xylo+glock Ravel Mother Goose and Daphnis complete xylo+glock Symphony No 2 (glock) Reich Septet (Vibraphone 1) Three Movements (Marimba 1) Respighi Pines of Rome, Festivals of Rome, Fountains of Rome Saint-‐Saëns Carnival of the Animals, and Samson and Delilah (glock) Shostakovich Symphonies Nos 5, 6, 7, 8, 14, 15, Violin Concerto No 1, Polka from the
(Golden Age Ballet) Symphony No 4, Jazz Suite No 2, Cello Concerto No 2 and Lady Macbeth of Mezensk (excerpts)
Stravinsky Firebird (complete), Les Noces and Petrushka (1911 + 47) Strauss Don Juan and Salome Tchaikovsky Sleeping Beauty and The Nutcracker Tippet Concerto for Orchestra and Symphony No 4 (marimba) Vaughan Williams Symphonies 7 & 8, Job Walton Belshazzar’s Feast, Portsmouth Point and Scapino *Scales and Arpeggios Syllabus All major, harmonic and melodic minor scales All chromatic scales All whole tone scales All major and minor arpeggios Dominant and diminished seventh arpeggios in all keys Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments and experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will also be used to give students
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an in-‐depth profile of specific pieces, with support and in tandem with both related study and faculty activity professors, creating a network of support through combined information. PROFESSIONAL PORTFOLIO 1. Marimba/Solo Percussion (one visit per professor per term) Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music. Literature and Performances: Students will select literature for study from the following lists commensurate with their ability as marimbists. Marimba repertoire: Keiko Abe Works for Marimba (Schott) Bennett After Syrinx II Burritt Azure Burritt Caritas, Four Movements and October Night Miake Chain Mordant Diemer Toccata Druckman Reflections on the Nature of Water Dupin One Exitan Dance, Le Vélo (Leduc) Ewazen Northern Lights Fissinger Suite Karsten Furndal Mobius Splitting #1 Glassock Altered Echoes Markus Halt Marimbics Markus Halt Marimbasonic (Simrock) Handel Pieces for a Musical Clock Set II HWV 598-‐603 Harris Potpourri Helble Well-‐Tempered Marimbist Helble Preludes 10-‐12 Hollinden Of Wind and Water David Horne Pulse Toshi Ichiyanagi Paganini Personal Ignatowicz Toccata Klatzow Inyanga Percussion music Europe Klatzow Dances of Earth and Fire Eckhard Kopetzki Kaskada Anders Koppell Concerto No.1 Anders Koppell Concerto No. 2 Anders Koppell 9 Peanuts Steve Mackey See Yah Thursday Robert Maggio Songs of the Wood Maslanka My Lady White Maslanka Variations Miki Time for Marimba Miyoshi Torse III Musser Etude in G Major Niimi For Marimba I O’Meara Tune for Mary ’0 O’Meara Restless Andy Pape Marrrimba
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Penn Preludes Ptaszynska Graffito Reich Nagoya Marimbas (B&H) Rimey-‐Meille Une Autre Personne, Encorce et l’Ame en soi Sakura Sakura Cherry Blossom Sammut Rotations Sammut Cameleon Sammut Zapping Trio (kp 3) Sammut Hombre et d’Aout (Billaudot) Sammut Kaleiduoscope (duo) (kp3) Sammut Sugaria Colombo/arrgt Sammut Indifférence Chopin/arrgt Sammut The Revolutionnary Bizet / arrgt Sammut Carmen Fantaisy Piazolla/Sammut Libertango (kp3) Matthias Schmitt Corrido Matthias Schmitt Ghanaia Matthias Schmitt 6 Miniatures Matthias Schmitt Wasserspiele Schwantner Velocities Sejourné 5 Pièces (Leduc) Smadbeck Rhythm Song Smadbeck Virginia Tate Stevens Rhythmic Caprice Stevens Great Wall Stout Sedimental Structures Stout Two Mexican Dances, Etudes Rumble Strips, Sedimental Structures, Astral Dance,
Studio 4 Sueyoshi Mirage Tastimitsu Tanaka Two Movements Thomas Merlin Turina Danzas Gitanas Ulrich Suite Vinao Khan Variations Zivkovich Gretel Verlag Zivkovic Ultimatum Modern Japanese Marimba Pieces 1st book Ongaku no Tomo Literature and Performances: Students will select literature for study from the following lists commensurate with their ability and knowledge of the solo percussion repertoire. Concerti/Solo Percussion repertoire: Louis Andriessen Wood Pecker’, for Marimba and Woodblocks Javier Alvarez Temazcal Bartók Sonata for Two Pianos and Percussion Benjamin Britten A Young Person’s Guide to the Orchestra arr. David Corkhill Britten Nocturne Carter Sonatas for Timpani Chick Corea Children Songs Michael Daugherty UFO Percussion Concerto G Determeyer The Train (for solo snare drum) Joe Duddell Freaky Dancer’ for vibraphone and four guitars Joe Duddell Parallel Lines mallets and piano
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Joe Duddell Ruby Percussion Concerto Joe Duddell Snowblind mallets and strings Friedman/Samuels Carousel, Sunset Glow, Nyack Hans Werner Henze 5 Scenes for the Snow country David Hollinden Cold Pressed David Horne Phantom Moon’ for Flute and Two percussion David Horne Rush Multi Percussion Maki Ishii Thirteen Drums op 66 Andre Jolivet Concerto for Percussion Peter Klatzow Ambient Resonances for vibraphone and marimba Eckhard Kopetzki Topf-‐Tanz, multi percussion Anders Koppell Tarantella Marimba and Violin Anders Koppel Toccata David Lang ‘The Anvil Chorus’, Multi-‐percussion Steve Mackay Micro Concerto Chamber work John Macleod Percussion Concerto James Macmillan Veni, Veni Emmanuel Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Christopher Rouse Der Gettete Alberich Percussion Concerto Paul Rudens Alarm for multi percussion Stephen Rush Inner Rebellion Stephen Rush Rebellion Matthias Schmitt Nocturne 2 Marimbas Matthias Schmitt 3 Skizzer for 2 marimbas Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Rolf Wallin Twine for marimba and xylophone Nigel Westlake Fabian Theory Iannis Xenakis Rebonds Iannis Xenakis Psappa Selected solo vibraphone pieces by: Gary Burton David Friedman Bill Mollenhof John Mark Piper Ravel/Burton David Samuels With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 2. Drum Set and Latin American/Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the
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student’s awareness of the music and develop the ability to think and react to different musical situations. Playing the ‘simple’ well is still one of the most difficult things to achieve and will be a priority for students taking this course. Students in Year One must display an understanding of the music and genre they are performing, together with musicality and control. Lectures 1. General playing concepts for Drumset Voicing Cymbal time The four feel (Pulse 8 Inner Pulse) Repertoire (Song 8 Rhythm) 2. Brushes Movement (Circle 8 Side to Side) 3. Reading and Articulation /Phrasing Interpretation What you see! Orchestral vs. popular 4. Hands & Movement Moeller – Blackley ‘WHY’ 5. Latin 1 – Cuban Drum kit (Folkloric to dance band) 6. Latin 2-‐ Cuban Tumbadoras (congas) 7. Latin 3 – Cuban Hand percussion 8. Latin 4-‐ Brazilian Hand percussion 9. Latin 5 – Brazilian Drum Kit 10. World Percussion Frame Drums, Reks etc 11. Improvisation Blackley concept (1000 v 1) 12. Soloing General concept 13. History 14. The Shuffle Old to New 15. Repertoire Orchestral/show
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16. Groove Playing What’s new? 17. Hand Percussion (pop style) Shakers, cabasa etc 18. Tambourine All styles 19. The “two” feel From jazz to show to rock ENSEMBLES Knowledge of Rhythms Play with Spirit Know the Instrumentation and Lines Samba (Batucada – Reggae etc) Maracato Bion/Forro Cha cha cha/mambo Rumba (Guagaunco – Yambu – Columbia) Mozambique La Conga Bomba Calypso Afro Cuban 6/8 North African Suggested listening: Jazz/Swing The Best of Louis Armstrong: The Hot Five and Seven Recordings Miles Davis: Kind of Blue, Miles Smiles, Black Hawk Sessions, My Funny Valentine, Oscar Peterson: Night Train Ahmad Jamal: Alhambra and Blackhawk performances Pop/Funk/Blues Records on Motown , Stax , Chess labels Herbie Hancock: Headhunters, Sunlight Ethnic Any rough guides, including: Cuban, Samba, Belly dance, Afro-‐Cuban, Latin Joe Pass/Paulinho da Costa Tu do Ben Toots Thielemans The Brazil Project x 2 Sergio Mendes Brasileiro Salsa Timba Big Band Count Basie: Atomic Mr. Basie Duke Ellington: At Newport, Duke Ellington with Frank Sinatra Thad Jones/Mel Lewis Consummation
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Frank Sinatra: Songs for Swinging Lovers, Swingin’ Brass,Sinatra and Ellington Sun Ra FACULTY ACTIVITY 1. Orchestral Repertoire Classes will work in tandem with the extensive repertoire lists for Timpani and Percussion. They will deal with playing in the orchestra, within the section, studio/sight-‐reading techniques, and in an audition environment (screened or otherwise), to encourage students to engender a positive and professional manner in each situation. All timpani and percussion professors will be involved at some stage with these classes, particularly leading up to auditions for EUYO, PMF, Gustav Mahler Youth Orchestra, Verbier and Schleswig-‐Holstein Musik Festival etc, or when relevant positions become vacant within the profession. The playing techniques for all timpani and orchestral percussion instruments will be discussed in detail during these classes, providing an essential link and support to individual lessons. 2. Percussion Ensemble, which will give an annual concert in the Duke’s Hall, usually in the summer term, the programme for which will be decided by the Head of Department in close consultation with professors and students. All pieces will require some level of individual practice, particularly solo, duo and trio pieces, but rehearsals will generally be scheduled for the spring and summer terms, culminating in an intensive rehearsal period near to the concert date. 3. Vibraphone The course of study will include the analysis and performance of Joe Locke original compositions from such recordings as Van Gogh by Numbers, 4 Walls of Freedom, Dear Life, Force of 4 and the trilogy of duet recordings with pianist Frank Kimbrough (Saturn's Child, The Willow and Verrazano Moon). Investigating these pieces will also give the student the opportunity to focus on: a) development of a harmonic progression; b) the nature of melodic and harmonic improvisation including modes and scale/chord relationships; c) sound production (getting a good sound on the vibraphone); d) 4 mallet technique; d) insight into composition; e) The similarities and differences between classical music and jazz. The course will also include students writing their own music for solo vibraphone and/or percussion ensemble, to be analysed and performed by members of the class. General listening and ear training will be included in the course of study. 4. Masterclasses, which usually consist of three to four per academic year, will feature many of the finest players in the world. They will range from Principal and Section players in the great orchestras of the world, to soloists and experts in every facet of timpani and percussion playing, to keep the course as relevant and topical as possible. (See page 2 of this handbook and the RAM prospectus for recent visitors). FINAL EXAMINATION AND RECITAL REQUIREMENTS (ONE YEAR COURSE) Recital Requirements There will be three separate examinations/recitals in the summer term covering three areas of study: 1. Concerto Examination (Solo Percussion/Marimba) 2. Final Recital (Orchestral Repertoire) 3. Drumset/LA/Ethnic These examinations/recitals will generally follow a set procedure as explained in the specific headings below.
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(Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements)
1. Concerto Examination (Solo Percussion/Marimba) -‐ 30minutes
The Solo Percussion/Marimba exam is designed to give the performer an opportunity to perform concerti, solo, duo and chamber music of their choice. The programme will be decided by the student in consultation with his/her professors, and may include pieces from the concerti/solo/duo and chamber music lists, and solo marimba music lists or indeed be new pieces or adaptations of existing pieces specifically arranged for timpani and percussion. The student may choose to perform a Concerto or Concertino; a solo percussion piece, (or equivalent multi-‐percussion solo); a solo tuned percussion piece (or duo) and a solo timpani piece or chamber work. The emphasis is on being as creative as possible in forming a ‘cohesive’ solo programme for the Final Recital. This exam will be open to the public.
Additional Solo/Duo/Concertino and Chamber Music For Solo Performance and Solo Percussion/Marimba Exams Keiko Abe Selected solo pieces for marimba Javier Alvarez Temazcal J. S. Bach Cello Suites for Marimba Bartók Sonata for Two Pianos and Percussion Britten Nocturne Benjamin Britten Young Person’s Guide to the Orchestra arr. David Corkhill Burrit 5 preludes Carter Sonatas for Timpani Miake Chain Ongaku no Tomo Chick Corea Children’s Songs G Determeyer The Train (for solo snare drum) Friedman/Samuels Carousel, Sunset Glow, Nyack Markus Halt Marimbasonic (Simrock) David Hollinden Cold Pressed Toshi Ichiyanagi The Source Maki Ishii Thirteen Drums op 66 Klatzow Inyanga (Percussion Music Europe) Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance John Psathas Drum Dances Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Rimey-‐Meille Une autre personne + Ecorce et l'Ame en soi Stephen Rush Inner Rebellion Stephen Rush Rebellion Sammut Cameleon Sammut Hombre et d' Aout Billaudot Sammut Kaleïduoscope (duo) kp 3 Sammut Stroboscope (kp 3) Sammut Zapping Trio (kp 3) Piazolla / Sammut Libertango (kp 3) Sejourné 5 pieces (Leduc) Werner Thärichen Concerto for Timpani
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Jacques Veldhuis Goldrush Nigel Westlake Fabian Theory Zivkovich Gretel Verlag Puccini/ arrgt Sammut Musetta's Waltz Sammut Marcello Sammut 3 Spirals Modern Japanese Marimba Pieces Book 1 New Repertoire/Atonal/Avant Garde: Jean Batine Caracteres for Piano and Timpani Nicolas Bolens Winds Island for Multi-‐percussion and Tape/Electronics Edmund Campion Losing Touch for Vibraphone and Tape/Electronics Peter Eotvos Halbfinal: Mve 6 'Triangle' for Solo Timpani and 27 musicians Morton Feldman King of Denmark for Multi-‐percussion Bruno Giner Etudes De Peaux for Multi-‐percussion Philippe Hurel Loops 1 + 11 for Vibraphone Pierre Jodlowski Mecano Pierre Jodlowski Time and Money Martin Matalon Short Stories for Vibraphone Martin Matalon Trame V111 for Solo Percussion and ensemble Luis Naon 3 Pieces for Timbales Emmanuel d'Orlando Sol Mire for Piano and Timpani Caolos Roque Alsina Reflet 1 + 11 for Vibraphone Stuart Smith Links 1 + 11 for Vibraphone Alessandro Solbiati Bois for solo Marimba Karlheinz Stockhausen Vibra Elufa Jesus Torres Proteus for Multi-‐percussion James Wood Jodo La Monte Young X for Henry Flint Also see music by George Aperghis, Anthony Pateras, Franco Donatoni and other works by Martin Matalon. Selected solo vibraphone pieces by: Joe Locke Gary Burton David Friedman Mike Manieri Bill Mollenhof John Mark Piper David Samuels
2. Orchestral Repertoire -‐ 40 minutes (final recital equivalent)
The student will also be examined in ‘Orchestral Repertoire’, which will have been looked at in detail over the one year course, and the final exam list would as much as possible reflect relevant audition material currently being used by professional orchestras and repertoire ‘specific’ to each student as a result of their ‘tailored’ course. The final list will be drawn up from the extensive Postgraduate lists and the exact requirements will be issued to the students approximately 6 to 8 weeks before the examination again to reflect normal professional audition procedures. Examinations in Timpani and Percussion will at all times be conducted in an audition-‐like
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manner in order to give students as much experience as possible of performing in an audition environment. Students may be required to perform these examples in a number of different ways, illustrating the necessary flexibility needed for auditions and more especially reacting and adapting to specific requests from a conductor. This exam will be closed to the public. There may be a substantial interval between the Solo Performance and Orchestral Repertoire aspects of examination. All fourth Year BMus and Postgraduate Timpani and Percussion students will play their solo pieces in turn, to enable a ‘natural’ break before continuing with their orchestral repertoire. Students may continue with their repertoire testing immediately after their solo performance if they so wish. In cases where student numbers are particularly high, or if the student prefers it, the solo performance and orchestral repertoire examinations may take place on different days. Your choice of repertoire can have an impact on the mark awarded for the solo performance. Although it is important you do not set yourself challenges beyond your reach, you should also recognise that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study.
Timpani or Percussion only examinations For students opting to take a ‘Timpani’ or ‘Percussion’ only course, the amount of repertoire needed to adequately examine a student preparing one discipline will be that much greater. As with all other examinations for Timpani and Percussion, it will recreate as near as possible the format of a professional orchestral audition and will take into account the lack of solo material available for a timpanist during his/her Solo Performance on a timpani only course. 3. Drumset and Latin-‐American/Ethnic Percussion (Department specific area of the Professional Portfolio) Length of Examination 20-‐30 mins. The examination for Drumset and LA/Ethnic percussion will involve students being asked to perform on a variety of different instruments, inviting them to explore more ‘creative’ aspects of percussion playing, within the context of the music used in the examination. Students must play one piece of their own choice on drum-‐set from either the Dave Hassell ‘Graded Course for Drum Kit’ books or the Steve Houghton ‘Ultimate Drumset Reading Anthology’. All other pieces for this examination will be presented on the day by the drumset and LA/Ethnic percussion professors. Using CDs, it will recreate what the student may encounter in a studio or live situation, with the inclusion of a Big Band chart or small ensemble arrangement for drumset. There will also be examples of other styles of music from the different cultures studied during classes and lessons such as, Bossa Nova, Rhumba, Afro Cuban, and Samba etc, where the student will be expected to perform on percussion instruments relevant to the music being played, with a good concept of ‘time, feel, sound and musicality’, whilst displaying good listening skills. This examination will take into consideration the varied abilities of students’ in this area of study, and will be marked on their individual ability, achievement and potential.
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TWO YEAR COURSE – YEAR 1 PRINCIPAL STUDY* *All components of Principal Study carry a mandatory pass requirement Timpani (6 hours per term) Lessons will be centered on the introduction and development of basic technique and musical awareness through the repertoire listed below. In addition students should work through the studies of Delecluse, Alan Cumberland, Nick Would, Knauer and Friese. A thorough knowledge of the entire repertoire list will be expected, after detailed work on the following pieces during the year: Beethoven Symphonies Nos 1-‐9, Missa Solemnis, Fidelio (Excerpts) Violin Concerto, Piano Concerti (Excerpts)
Leonora 3 Egmont and Coriolanius Overtures Berlioz Roman Carnival Overture Brahms Symphony No 1-‐4 and German Requiem Britten The Young Person’s Guide to the Orchestra Dvořák Symphonies 7-‐9 Dukas The Sorcerers Apprentice Elgar Enigma Variations Mendelssohn Symphonies Nos 3 and 4; Violin Concerto Midsummer Night’s Dream and Hebrides Overtures Mozart Symphonies Nos 39 and 41 Magic Flute and Marriage of Figaro Overture Prokofiev Symphonies Nos 1 Schubert Symphonies Nos 8 and 9 Schumann Symphonies Nos 1 and 3 Sibelius Symphonies 1,2,5,7, Finlandia, Violin Concerto Tchaikovsky Symphonies Nos 4,5, 6, Cappricio Italien
Baroque Timpani (90 mins per term + one three hour class) JS Bach Christmas Oratorio, Third Suite for Orchestra Beethoven Mass in C, Symphony No 1, Symphony No 2 Handel Coronation Anthems, Israel in Egypt Haydn Symphony no 103 Mozart Serenata Noturna, Symphony No 36, Symphony No 39 Purcell Ode to St Cecilia’s day Schubert Symphony No 8 Mendelssohn Symphony no 3 Percussion (7 hours per term)
Snare Drum Rudimentary skills, rolls, dynamics, control, sound and strong time within a musical framework will be addressed using relevant material by Morrello, Stone, Blackley, Moeller, Sholle, Wilcoxon, Gladstone, Goldenberg and Bailey etc. The relationship between essential technique and repertoire will be explored together with skills that connect directly to many other percussion instruments. There will be detailed work on the following repertoire list and any outstanding technical problems will be addressed. The relationship of technique and musicality in playing the set repertoire will be high on the agenda, concentrating on interpretative skills and musical thinking by the student. The following repertoire for Snare Drum and Tuned Percussion will be studied in detail, with
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score, CD and, where possible, ‘live’ study in conjunction with ‘Assorted Percussion’ study and ‘Faculty Activity’ professors. Bartók Concerto for Orchestra, Piano Concertos 1+ 2 Berg Violin Concerto and Wozzek Bernstein Age of Anxiety (Symphony No 2), Candide Overture Borodin Polovtsian Dances Britten A Young Person’s Guide, Sinfonia da Requiem and Gloriana Copland Billy the Kid and Rodeo Debussy Iberia Elgar Enigma Variations and Cockaigne Falla Three Cornered Hat Gershwin An American in Paris, Piano Concerto and Rhapsody in Blue Holst The Planets Ives Three Places in New England Orff Carmina Burana Kodály Hary Janos Mahler Symphony No 3 and 6 Nielsen Symphony No 5 and Clarinet Concerto, Prokofiev Peter and the Wolf, Lt. Kije Rachmaninov Symphonic Dances and Symphonies Nos 1 and 2 Ravel Rhapsodie Espagnole, Valses Nobles et Sentimentales, Alborada del gracioso Rimsky Korsakov Scheherezade (complete) Rossini Thieving Magpie Overture Shostakovich Symphonies Nos 1, 5, 6, 7 Strauss Rosenkavalier Suite Stravinsky Petrushka (1911 + 47) A Soldier’s Tale Suppé Pique Dame Williams Star Wars Tuned Percussion Scales*, related technical exercises, mallet selection and sound projection using relevant material by Hamilton Green, Goldenberg, Friedman, Samuels, Stevens, Becker, and Bailey etc. The related techniques and movement of each tuned percussion instrument will be studied establishing a thorough basis of knowledge and understanding in conjunction with detailed work on the following repertoire. Adams Century Rolls (marimba) Bartók Music for Strings, Percussion and Celeste, Wooden Prince Berg Lulu vibraphone, Wozzeck, Bernstein Quiet Place Suite, Candide Overture, Chichester Psalms, Age of Anxiety West Side Story
(arr Crees) Brahms/Schoenberg Quartet for Orchestra Britten A Young Person’s Guide, Four Sea Interludes Copland Appalachian Spring and Hoe Down Debussy La Mer Dukas Sorcerer’s Apprentice Elgar In the South glock and Wand of Youth Suites 1+2 Khachaturian Gayne Ballet Gershwin Porgy and Bess (complete opera) Glazunov The Seasons Hindemith Kammer Music Holst The Planets (xylo+glock Janáček The House of the Dead Mahler Symphony No 6 xylo
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Messiaen Oiseaux Exotiques xylo, Turangalîla Symphony vibraphone Prokoviev Alexander Nevsky Rachmaninov Symphonic Dances xylo+glock Ravel Mother Goose and Daphnis complete xylo+glock Reich Septet (Vibraphone 1) Respighi Pines of Rome, Festivals of Rome, Fountains of Rome Saint-‐Saëns Carnival of the Animals Shostakovich Symphonies Nos 5, 6, 7, 8, 14, 15, Violin Concerto No 1 Lady Macbeth of Mezensk (excerpts) Stravinsky Firebird (complete) and Les Noces Strauss Don Juan Tchaikovsky Sleeping Beauty and The Nutcracker Tippet Concerto for Orchestra Vaughan Williams Symphonies 7 & 8 Walton Portsmouth Point and Scapino *Scales and Arpeggios Syllabus All major, harmonic and melodic minor scales All chromatic scales All whole tone scales All major and minor arpeggios Dominant and diminished seventh arpeggios in all keys Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments and experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will also be used to give students an in-‐depth profile of specific pieces, with support and in tandem with both related study and faculty activity professors, creating a network of support through combined information. PROFESSIONAL PORTFOLIO 1. Marimba/Solo Percussion (one visit per professor per term) Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music. Literature and Performances: Students will select literature for study from the following lists commensurate with their ability as marimbists. Marimba repertoire: Keiko Abe Works for Marimba (Schott) Bennett After Syrinx II Burritt Azure Burritt Caritas, Four Movements and October Night Miake Chain Mordant Diemer Toccata Druckman Reflections on the Nature of Water Dupin One Exitan Dance, Le Vélo (Leduc) Ewazen Northern Lights Fissinger Suite Karsten Furndal Mobius Splitting #1
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Glassock Altered Echoes Markus Halt Marimbics Markus Halt Marimbasonic (Simrock) Handel Pieces for a Musical Clock Set II HWV 598-‐603 Harris Potpourri Helble Well-‐Tempered Marimbist Helble Preludes 10-‐12 Hollinden Of Wind and Water David Horne Pulse Toshi Ichiyanagi Paganini Personal Ignatowicz Toccata Klatzow Inyanga Percussion music Europe Klatzow Dances of Earth and Fire Eckhard Kopetzki Kaskada Anders Koppell Concerto No.1 Anders Koppell Concerto No. 2 Anders Koppell 9 Peanuts Steve Mackey See Yah Thursday Robert Maggio Songs of the Wood Maslanka My Lady White Maslanka Variations Miki Time for Marimba Miyoshi Torse III Musser Etude in G Major Niimi For Marimba I O’Meara Tune for Mary ’0 O’Meara Restless Andy Pape Marrrimba Penn Preludes Ptaszynska Graffito Reich Nagoya Marimbas (B&H) Rimey-‐Meille Une Autre Personne, Encorce et l’Ame en soi Sakura Sakura Cherry Blossom Sammut Rotations Sammut Cameleon Sammut Zapping Trio (kp 3) Sammut Hombre et d’Aout (Billaudot) Sammut Kaleiduoscope (duo) (kp3) Sammut Sugaria Colombo/arrgt Sammut Indifférence Chopin/arrgt Sammut The Revolutionnary Bizet / arrgt Sammut Carmen Fantaisy Piazolla/Sammut Libertango (kp3) Matthias Schmitt Corrido Matthias Schmitt Ghanaia Matthias Schmitt 6 Miniatures Matthias Schmitt Wasserspiele Schwantner Velocities Sejourné 5 Pièces (Leduc) Smadbeck Rhythm Song Smadbeck Virginia Tate Stevens Rhythmic Caprice Stevens Great Wall Stout Sedimental Structures
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Stout Two Mexican Dances, Etudes Rumble Strips, Sedimental Structures, Astral Dance, Studio 4
Sueyoshi Mirage Tastimitsu Tanaka Two Movements Thomas Merlin Turina Danzas Gitanas Ulrich Suite Vinao Khan Variations Zivkovich Gretel Verlag Zivkovic Ultimatum Modern Japanese Marimba Pieces 1st book Ongaku no Tomo Literature and Performances: Students will select literature for study from the following lists commensurate with their ability and knowledge of the solo percussion repertoire. Concerti/Solo Percussion repertoire: Louis Andriessen Wood Pecker’, for Marimba and Woodblocks Javier Alvarez Temazcal Bartók Sonata for Two Pianos and Percussion Benjamin Britten A Young Person’s Guide to the Orchestra arr. David Corkhill Britten Nocturne Carter Sonatas for Timpani Chick Corea Children Songs Michael Daugherty UFO Percussion Concerto G Determeyer The Train (for solo snare drum) Joe Duddell Freaky Dancer’ for vibraphone and four guitars Joe Duddell Parallel Lines mallets and piano Joe Duddell Ruby Percussion Concerto Joe Duddell Snowblind mallets and strings Friedman/Samuels Carousel, Sunset Glow, Nyack Hans Werner Henze 5 Scenes for the Snow country David Hollinden Cold Pressed David Horne Phantom Moon’ for Flute and Two percussion David Horne Rush Multi Percussion Maki Ishii Thirteen Drums op 66 Andre Jolivet Concerto for Percussion Peter Klatzow Ambient Resonances for vibraphone and marimba Eckhard Kopetzki Topf-‐Tanz, multi percussion Anders Koppell Tarantella Marimba and Violin Anders Koppel Toccata David Lang ‘The Anvil Chorus’, Multi-‐percussion Steve Mackay Micro Concerto Chamber work John Macleod Percussion Concerto James Macmillan Veni, Veni Emmanuel Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Christopher Rouse Der Gettete Alberich Percussion Concerto
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Paul Rudens Alarm for multi percussion Stephen Rush Inner Rebellion Stephen Rush Rebellion Matthias Schmitt Nocturne 2 Marimbas Matthias Schmitt 3 Skizzer for 2 marimbas Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Rolf Wallin Twine for marimba and xylophone Nigel Westlake Fabian Theory Iannis Xenakis Rebonds Iannis Xenakis Psappa Selected solo vibraphone pieces by: Gary Burton David Friedman Bill Mollenhof John Mark Piper Ravel/Burton David Samuels With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 2. Drum Set and Latin American/Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the student’s awareness of the music and develop the ability to think and react to different musical situations. Playing the ‘simple’ well is still one of the most difficult things to achieve and will be a priority for students taking this course. Students in Year One must display an understanding of the music and genre they are performing, together with musicality and control. Lectures 1. General playing concepts for Drumset Voicing Cymbal time The four feel (Pulse 8 Inner Pulse) Repertoire (Song 8 Rhythm) 2. Brushes Movement (Circle 8 Side to Side) 3. Reading and Articulation /Phrasing Interpretation What you see! Orchestral vs. popular 4. Hands & Movement Moeller – Blackley ‘WHY’ 5. Latin 1 – Cuban Drum kit (Folkloric to dance band)
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6. Latin 2-‐ Cuban Tumbadoras (congas) 7. Latin 3 – Cuban Hand percussion 8. Latin 4-‐ Brazilian Hand percussion 9. Latin 5 – Brazilian Drum Kit 10. World Percussion Frame Drums, Reks etc 11. Improvisation Blackley concept (1000 v 1) 12. Soloing General concept 13. History 14. The Shuffle Old to New 15. Repertoire Orchestral/show 16. Groove Playing What’s new? 17. Hand Percussion (pop style) Shakers, cabasa etc 18. Tambourine All styles 19. The “two” feel From jazz to show to rock ENSEMBLES Knowledge of Rhythms Play with Spirit Know the Instrumentation and Lines Samba (Batucada – Reggae etc) Maracato Bion/Forro Cha cha cha/mambo Rumba (Guagaunco – Yambu – Columbia) Mozambique La Conga Bomba
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Calypso Afro Cuban 6/8 North African Suggested listening: Jazz/Swing The Best of Louis Armstrong: The Hot Five and Seven Recordings Miles Davis: Kind of Blue, Miles Smiles, Black Hawk Sessions, My Funny Valentine, Oscar Peterson: Night Train Ahmad Jamal: Alhambra and Blackhawk performances Pop/Funk/Blues Records on Motown , Stax , Chess labels Herbie Hancock: Headhunters, Sunlight Ethnic Any rough guides, including: Cuban, Samba, Belly dance, Afro-‐Cuban, Latin Joe Pass/Paulinho da Costa Tu do Ben Toots Thielemans The Brazil Project x 2 Sergio Mendes Brasileiro Salsa Timba Big Band Count Basie: Atomic Mr. Basie Duke Ellington: At Newport, Duke Ellington with Frank Sinatra Thad Jones/Mel Lewis Consummation Frank Sinatra: Songs for Swinging Lovers, Swingin’ Brass,Sinatra and Ellington Sun Ra FACULTY ACTIVITY 1. Orchestral Repertoire Classes will work in tandem with the extensive repertoire lists for Timpani and Percussion. They will deal with playing in the orchestra, within the section, studio/sight-‐reading techniques, and in an audition environment (screened or otherwise), to encourage students to engender a positive and professional manner in each situation. All timpani and percussion professors will be involved at some stage with these classes, particularly leading up to auditions for EUYO, PMF, Gustav Mahler Youth Orchestra, Verbier and Schleswig-‐Holstein Musik Festival etc, or when relevant positions become vacant within the profession. The playing techniques for all timpani and orchestral percussion instruments will be discussed in detail during these classes, providing an essential link and support to individual lessons. 2. Percussion Ensemble, which will give an annual concert in the Duke’s Hall, usually in the summer term, the programme for which will be decided by the Head of Department in close consultation with professors and students. All pieces will require some level of individual practice, particularly solo, duo and trio pieces, but rehearsals will generally be scheduled for the spring and summer terms, culminating in an intensive rehearsal period near to the concert date. 3. Vibraphone The course of study will include the analysis and performance of Joe Locke original compositions from such recordings as Van Gogh by Numbers, 4 Walls of Freedom, Dear Life, Force of 4 and the trilogy of duet recordings with pianist Frank Kimbrough (Saturn's Child, The Willow and Verrazano Moon). Investigating these pieces will also give the student the opportunity to focus on: a) development of a harmonic progression;
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b) the nature of melodic and harmonic improvisation including modes and scale/chord relationships; c) sound production (getting a good sound on the vibraphone); d) 4 mallet technique; d) insight into composition; e) The similarities and differences between classical music and jazz. The course will also include students writing their own music for solo vibraphone and/or percussion ensemble, to be analysed and performed by members of the class. General listening and ear training will be included in the course of study. 4. Masterclasses, which usually consist of three to four per academic year, will feature many of the finest players in the world. They will range from Principal and Section players in the great orchestras of the world, to soloists and experts in every facet of timpani and percussion playing, to keep the course as relevant and topical as possible. (See page 2 of this handbook and the RAM prospectus for recent visitors). END OF YEAR EXAMINATION AND RECITAL REQUIREMENTS (FIRST YEAR OF A TWO YEAR COURSE) Recital Requirements There will be three separate examinations/recitals in the summer term covering three areas of study: 1. Orchestral Audition (End of year exam) 2. Solo Percussion/Marimba (Professional portfolio) 3. Drumset/LA/Ethnic Percussion (Professional portfolio) These examinations/recitals will generally follow a set procedure as explained in the specific headings below. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements)
1. Orchestral Audition (End of year exam) – 40 minutes
This exam takes place in the final term of year one for students on the two-‐year course. It is designed to not only reflect the progress the student has made in their first year of study and check that their level of progress is at a level commensurate with Academy guidelines, but also to recreate as near as possible the format of a professional ‘Orchestral Audition’. The student will have looked at the relevant repertoire in detail during this first year of the two-‐year course, and the repertoire used for this exam would, as much as possible, reflect relevant audition material currently being used by professional orchestras and repertoire ‘specific’ to each student as a result of their ‘tailored’ course. The exact requirements will be issued to the students approximately 6 to 8 weeks before the examination again to reflect normal professional audition procedures. This exam will at all times be conducted in an audition like manner in order to give students as much experience as possible of performing in an audition environment. Students may be required to perform these examples in a number of different ways, illustrating the necessary flexibility needed for auditions and more especially reacting and adapting to specific requests from a conductor. Additional Solo/Duo/Concertino and Chamber Music For Solo Performance and Solo Percussion/Marimba Exams Keiko Abe Selected solo pieces for marimba Javier Alvarez Temazcal J. S. Bach Cello Suites for Marimba Bartók Sonata for Two Pianos and Percussion Britten Nocturne Benjamin Britten Young Person’s Guide to the Orchestra arr. David Corkhill
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Burrit 5 preludes Carter Sonatas for Timpani Miake Chain Ongaku no Tomo Chick Corea Children’s Songs G Determeyer The Train (for solo snare drum) Markus Halt Marimbasonic (Simrock) David Hollinden Cold Pressed Toshi Ichiyanagi The Source Maki Ishii Thirteen Drums op 66 Klatzow Inyanga (Percussion Music Europe) Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance John Psathas Drum Dances Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Rimey-‐Meille Une autre personne + Ecorce et l'Ame en soi Stephen Rush Inner Rebellion Stephen Rush Rebellion Sammut Cameleon Sammut Hombre et d' Aout Billaudot Sammut Kaleïduoscope (duo) kp 3 Sammut Stroboscope (kp 3) Sammut Zapping Trio (kp 3) Piazolla / Sammut Libertango (kp 3) Sejourné 5 pieces (Leduc) Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Nigel Westlake Fabian Theory Zivkovich Gretel Verlag Puccini/ arrgt Sammut Musetta's Waltz Sammut Marcello Sammut 3 Spirals Modern Japanese Marimba Pieces Book 1 New Repertoire/Atonal/Avant Garde: Jean Batine Caracteres for Piano and Timpani Nicolas Bolens Winds Island for Multi-‐percussion and Tape/Electronics Edmund Campion Losing Touch for Vibraphone and Tape/Electronics Peter Eotvos Halbfinal: Mve 6 'Triangle' for Solo Timpani and 27 musicians Morton Feldman King of Denmark for Multi-‐percussion Bruno Giner Etudes De Peaux for Multi-‐percussion Philippe Hurel Loops 1 + 11 for Vibraphone Pierre Jodlowski Mecano Pierre Jodlowski Time and Money Martin Matalon Short Stories for Vibraphone Martin Matalon Trame V111 for Solo Percussion and ensemble Luis Naon 3 Pieces for Timbales Emmanuel d'Orlando Sol Mire for Piano and Timpani Caolos Roque Alsina Reflet 1 + 11 for Vibraphone
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Stuart Smith Links 1 + 11 for Vibraphone Alessandro Solbiati Bois for solo Marimba Karlheinz Stockhausen Vibra Elufa Jesus Torres Proteus for Multi-‐percussion James Wood Jodo La Monte Young X for Henry Flint Also see music by George Aperghis, Anthony Pateras, Franco Donatoni and other works by Martin Matalon. Selected solo vibraphone pieces by: Joe Locke Gary Burton David Friedman Mike Manieri Bill Mollenhof John Mark Piper David Samuels
2. Solo percussion/marimba (Professional portfolio) 15/20 minutes
The end of year examination for solo percussion/ marimba will where possible take the form of a ‘public recital’, usually in the DJ or similar venue. Students will be expected to prepare up to a 15 minute recital including pieces which may be from the list of designated solo percussion/marimba pieces relevant to their year and his or her ability. All students will perform their pieces in this concert, familiarising you with performing in a solo capacity. Ideally this will include a solo marimba piece and a solo percussion piece. This will become more and more relevant to the advancing student leading to their final recital. (There will also be continual assessment of each student’s work in lessons and classes during the academic year and a professorial report will be produced at the end of the year). Year 2 PG students may ‘road test’ one piece from their ’solo performance’ programme should they wish to do so. NB: Solo pieces only! (No duos.) You can of course include an accompanist. Length of Solo Percussion/Marimba Recital The average length of the recital will be determined by the number of students in the department in any given academic year, and by the length of the individual pieces. In years where student numbers may be significantly greater than normal, due consideration will be given to the recital taking place over more than one session. All students are expected to attend the whole recital. Timpani or Percussion only examinations For students opting to take a ‘Timpani’ or ‘Percussion’ only course, the amount of repertoire needed to adequately examine a student preparing one discipline will be that much greater. As with all other examinations for Timpani and Percussion, it will recreate as near as possible the format of a professional orchestral audition and will take into account the lack of solo material available for a timpanist during his/her Solo Performance on a timpani only course. 3. Drumset and Latin-‐American/Ethnic Percussion (Professional portfolio) The examination for Drumset and LA/Ethnic percussion will involve students being asked to perform on a variety of different instruments, inviting them to explore more ‘creative’ aspects of percussion playing, within the context of the music used in the examination. Students must play one piece of their own choice on drum-‐set from
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either the Dave Hassell ‘Graded Course for Drum Kit’ books or the Steve Houghton ‘Ultimate Drumset Reading Anthology’. All other pieces for this examination will be presented on the day by the drumset and LA/Ethnic percussion professors. Using CDs, it will recreate what the student may encounter in a studio or live situation, with the inclusion of a Big Band chart or small ensemble arrangement for drumset. There will also be examples of other styles of music from the different cultures studied during classes and lessons such as, Bossa Nova, Rhumba, Afro Cuban, and Samba etc, where the student will be expected to perform on percussion instruments relevant to the music being played, with a good concept of ‘time, feel, sound and musicality’, whilst displaying good listening skills. This examination will take into consideration the varied abilities of students’ in this area of related study, and will be marked on their individual ability, achievement and potential. Length of Examination 20-‐30 mins.
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TWO YEAR COURSE – YEAR 2 PRINCIPAL STUDY* *All components of Principal Study carry a mandatory pass requirement Timpani (6 hours per term) Lessons will aim to consolidate and develop the work from years one and two, and subject to the achievement of all of the required coursework, will seek to refine and perfect each area of timpani study*, using very demanding orchestral repertoire, (listed below) and relevant studies. In addition students should work through the studies of Delecluse, Alan Cumberland, Nick Would, Knauer and Friese. Bartók Concerto for Orchestra, The Miraculous Mandarin, Piano Concerto, Violin Concerto No 2, Music for Strings, Percussion and Celeste Berlioz Symphonie Fantastique Bernstein Chichester Psalms, West Side Story and Candide Overture Britten Four Sea Interludes and Spring Symphony, War Requiem, Nocturne Bruckner Symphonies 6,7,8,9 Elgar Symphony No 1, Cockaigne Overture Hindemith Symphonic Metamorphoses Janáček Glagolitic Mass, Sinfonietta, Taras Bulba, Cunning Little Vixen and Overture: From
the House of the Dead Orff Carmina Burana Mahler Symphonies 1-‐9 Nielsen Symphony No 4 Rachmaninov Symphony No 2, Symphonic Dances Respighi The Fountains of Rome, Roman Festivals Rimsky-‐Korsakov Scheherezade, Capriccio Espagnol Shostakovich Symphonies Nos 1,5,6,7,8,10,11,15 Strauss Ein Heldenleben, Tod und Verklarung, Don Juan Rosenkavalier Suite, Salome and Electra Stravinsky The Rite of Spring, Oedipus Rex, Symphony in Three Movements, Jeu de Cartes, The Firebird (1910+1919) Petrouchka (1947) Tippett Concerto for Orchestra Wagner Excerpts from The Ring Cycle, Overtures: The Flying Dutchman, Tannhauser, Rienzi Walton Belshazzar’s Feast, Symphony No. 1
Baroque Timpani (One hour per term + one three hour class) JS Bach Easter Oratorio, 4th Suite for Orchestra Beethoven Symphony No 3, Symphony No 4 Handel Messiah Haydn Symphony No104, Creation Purcell The Fairy Queen Mendelssohn Symphony No 4 Mozart Symphony No 41, Requiem Schubert Symphony No 3, Symphony No 9 Schumann Symphony No 4 Percussion (7 hours per term)
Snare Drum Rudimental skills, rolls, dynamics, control, sound and strong time within a musical framework will be addressed using relevant material by Morrello, Stone, Blackley, Moeller, Sholle, Wilcoxon, Gladstone, Goldenberg and Bailey
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etc. The relationship between essential technique and repertoire will be explored together with skills that connect directly to many other percussion instruments. There will be detailed work on the following repertoire list and any outstanding technical problems will be addressed. The relationship of technique and musicality in playing the set repertoire will be high on the agenda, concentrating on interpretative skills and musical thinking by the student. The following repertoire for Snare Drum and Tuned Percussion will be studied in detail, with score, CD and, where possible, ‘live’ study in conjunction with ‘Assorted Percussion’ study and ‘Faculty Activity’ professors. Bartók The Miraculous Mandarin Bernstein Serenade, Chichester Psalms Britten A Midsummer Night’s Dream (High Drum) and War Requiem Copland Symphony No 3 Janáček Taras Bulba Prokofiev Symphony No 5 and Romeo & Juliet (complete) Rachmaninov Symphonic Dances and Symphonies Nos 1 and 2 Ravel Rhapsodie Espagnole, Valses Nobles et Sentimentales, La Valse, Bolero Pictures at an Exhibition, Alborada del gracioso Rimsky Korsakov Capriccio Espanol and Scheherezade (complete) Rossini Thieving Magpie Overture Shostakovich Symphonies Nos 8, 10, 11, 15 and Festival Overture Tchaikovsky 1812 Overture Walton Belshazar’s Feast, Crown Imperial Webern 6 Orchestral Pieces Tuned Percussion Scales*, related technical exercises, mallet selection and sound projection using relevant material by Hamilton Green, Goldenberg, Friedman, Samuels, Stevens, Becker, and Bailey etc. The related techniques and movement of each tuned percussion instrument will be studied establishing a thorough basis of knowledge and understanding in conjunction with detailed work on the following repertoire. Adams Harmonielehre (marimba) Bartók Bluebeard’s Castle Berg Three Pieces for Orchestra Bernstein Symphonic Dances from ”West Side Story and Prelude Fugue and Riffs vibe+xylo for both
pieces and Halil Britten Prince of the Pagodas and Soirées Musicales Gershwin Piano Concerto and An American In Paris Kabalevsky Colas Breugnon Overture Kodály Hary Janos Messiaen Couleurs de la Cité Céleste xylo and Chronochromie xylo Prokoviev Piano Concerto No 1 Romeo & Juliet (complete) xylo+glock Rachmaninov Symphony No 2 glock Ravel Mother Goose and Daphnis and Chloe complete xylo+glock Reich Three Movements Marimba 1 Saint-‐Saëns Samson and Delilah glock Shostakovich Polka from the (Golden Age Ballet) Symphony No 4, Jazz Suite No 2, Cello, Concerto No 2 Stravinsky Petrushka (1911 + 47) Strauss Salome Tchaikovsky Sleeping Beauty and The Nutcracker Tippet Concerto for Orchestra Vaughan Williams Job Walton Portsmouth Point and Scapino *Scales and Arpeggios Syllabus All major, harmonic and melodic minor scales
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All chromatic scales All whole tone scales All major and minor arpeggios Dominant and diminished seventh arpeggios in all keys Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments and experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will also be used to give students an in-‐depth profile of specific pieces, with support and in tandem with both related study and faculty activity professors, creating a network of support through combined information. PROFESSIONAL PORTFOLIO 1. Marimba/Solo Percussion (one visit per professor per term) Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music. Literature and Performances: Students will select literature for study from the following lists commensurate with their ability as marimbists. Marimba repertoire: Keiko Abe Works for Marimba (Schott) Bennett After Syrinx II Burritt Azure Burritt Caritas, Four Movements and October Night Miake Chain Mordant Diemer Toccata Druckman Reflections on the Nature of Water Dupin One Exitan Dance, Le Vélo (Leduc) Ewazen Northern Lights Fissinger Suite Karsten Furndal Mobius Splitting #1 Glassock Altered Echoes Markus Halt Marimbics Markus Halt Marimbasonic (Simrock) Handel Pieces for a Musical Clock Set II HWV 598-‐603 Harris Potpourri Helble Well-‐Tempered Marimbist Helble Preludes 10-‐12 Hollinden Of Wind and Water David Horne Pulse Toshi Ichiyanagi Paganini Personal Ignatowicz Toccata Klatzow Inyanga Percussion music Europe Klatzow Dances of Earth and Fire Eckhard Kopetzki Kaskada Anders Koppell Concerto No.1 Anders Koppell Concerto No. 2 Anders Koppell 9 Peanuts Steve Mackey See Yah Thursday
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Robert Maggio Songs of the Wood Maslanka My Lady White Maslanka Variations Miki Time for Marimba Miyoshi Torse III Musser Etude in G Major Niimi For Marimba I O’Meara Tune for Mary ’0 O’Meara Restless Andy Pape Marrrimba Penn Preludes Ptaszynska Graffito Reich Nagoya Marimbas (B&H) Rimey-‐Meille Une Autre Personne, Encorce et l’Ame en soi Sakura Sakura Cherry Blossom Sammut Rotations Sammut Cameleon Sammut Zapping Trio (kp 3) Sammut Hombre et d’Aout (Billaudot) Sammut Kaleiduoscope (duo) (kp3) Sammut Sugaria Colombo/arrgt Sammut Indifférence Chopin/arrgt Sammut The Revolutionnary Bizet / arrgt Sammut Carmen Fantaisy Piazolla/Sammut Libertango (kp3) Matthias Schmitt Corrido Matthias Schmitt Ghanaia Matthias Schmitt 6 Miniatures Matthias Schmitt Wasserspiele Schwantner Velocities Sejourné 5 Pièces (Leduc) Smadbeck Rhythm Song Smadbeck Virginia Tate Stevens Rhythmic Caprice Stevens Great Wall Stout Sedimental Structures Stout Two Mexican Dances, Etudes Rumble Strips, Sedimental Structures, Astral Dance,
Studio 4 Sueyoshi Mirage Tastimitsu Tanaka Two Movements Thomas Merlin Turina Danzas Gitanas Ulrich Suite Vinao Khan Variations Zivkovich Gretel Verlag Zivkovic Ultimatum Modern Japanese Marimba Pieces 1st book Ongaku no Tomo Literature and Performances: Students will select literature for study from the following lists commensurate with their ability and knowledge of the solo percussion repertoire. Concerti/Solo Percussion repertoire: Louis Andriessen Wood Pecker’, for Marimba and Woodblocks
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Javier Alvarez Temazcal Bartók Sonata for Two Pianos and Percussion Benjamin Britten A Young Person’s Guide to the Orchestra arr. David Corkhill Britten Nocturne Carter Sonatas for Timpani Chick Corea Children Songs Michael Daugherty UFO Percussion Concerto G Determeyer The Train (for solo snare drum) Joe Duddell Freaky Dancer’ for vibraphone and four guitars Joe Duddell Parallel Lines mallets and piano Joe Duddell Ruby Percussion Concerto Joe Duddell Snowblind mallets and strings Friedman/Samuels Carousel, Sunset Glow, Nyack Hans Werner Henze 5 Scenes for the Snow country David Hollinden Cold Pressed David Horne Phantom Moon’ for Flute and Two percussion David Horne Rush Multi Percussion Maki Ishii Thirteen Drums op 66 Andre Jolivet Concerto for Percussion Peter Klatzow Ambient Resonances for vibraphone and marimba Eckhard Kopetzki Topf-‐Tanz, multi percussion Anders Koppell Tarantella Marimba and Violin Anders Koppel Toccata David Lang ‘The Anvil Chorus’, Multi-‐percussion Steve Mackay Micro Concerto Chamber work John Macleod Percussion Concerto James Macmillan Veni, Veni Emmanuel Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Christopher Rouse Der Gettete Alberich Percussion Concerto Paul Rudens Alarm for multi percussion Stephen Rush Inner Rebellion Stephen Rush Rebellion Matthias Schmitt Nocturne 2 Marimbas Matthias Schmitt 3 Skizzer for 2 marimbas Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Rolf Wallin Twine for marimba and xylophone Nigel Westlake Fabian Theory Iannis Xenakis Rebonds Iannis Xenakis Psappa Selected solo vibraphone pieces by: Gary Burton David Friedman Bill Mollenhof John Mark Piper Ravel/Burton David Samuels
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With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 2. Drum Set and Latin American/Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the student’s awareness of the music and develop the ability to think and react to different musical situations. Playing the ‘simple’ well is still one of the most difficult things to achieve and will be a priority for students taking this course. Students in Year One must display an understanding of the music and genre they are performing, together with musicality and control. Lectures 1. General playing concepts for Drumset Voicing Cymbal time The four feel (Pulse 8 Inner Pulse) Repertoire (Song 8 Rhythm) 2. Brushes Movement (Circle 8 Side to Side) 3. Reading and Articulation /Phrasing Interpretation What you see! Orchestral vs. popular 4. Hands & Movement Moeller – Blackley ‘WHY’ 5. Latin 1 – Cuban Drum kit (Folkloric to dance band) 6. Latin 2-‐ Cuban Tumbadoras (congas) 7. Latin 3 – Cuban Hand percussion 8. Latin 4-‐ Brazilian Hand percussion 9. Latin 5 – Brazilian Drum Kit 10. World Percussion Frame Drums, Reks etc 11. Improvisation Blackley concept (1000 v 1)
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12. Soloing General concept 13. History 14. The Shuffle Old to New 15. Repertoire Orchestral/show 16. Groove Playing What’s new? 17. Hand Percussion (pop style) Shakers, cabasa etc 18. Tambourine All styles 19. The “two” feel From jazz to show to rock ENSEMBLES Knowledge of Rhythms Play with Spirit Know the Instrumentation and Lines Samba (Batucada – Reggae etc) Maracato Bion/Forro Cha cha cha/mambo Rumba (Guagaunco – Yambu – Columbia) Mozambique La Conga Bomba Calypso Afro Cuban 6/8 North African Suggested listening: Jazz/Swing The Best of Louis Armstrong: The Hot Five and Seven Recordings Miles Davis: Kind of Blue, Miles Smiles, Black Hawk Sessions, My Funny Valentine, Oscar Peterson: Night Train Ahmad Jamal: Alhambra and Blackhawk performances Pop/Funk/Blues Records on Motown , Stax , Chess labels Herbie Hancock: Headhunters, Sunlight Ethnic Any rough guides, including: Cuban, Samba, Belly dance, Afro-‐Cuban,
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Latin Joe Pass/Paulinho da Costa Tu do Ben Toots Thielemans The Brazil Project x 2 Sergio Mendes Brasileiro Salsa Timba Big Band Count Basie: Atomic Mr. Basie Duke Ellington: At Newport, Duke Ellington with Frank Sinatra Thad Jones/Mel Lewis Consummation Frank Sinatra: Songs for Swinging Lovers, Swingin’ Brass,Sinatra and Ellington Sun Ra FACULTY ACTIVITY 1. Orchestral Repertoire Classes will work in tandem with the extensive repertoire lists for Timpani and Percussion. They will deal with playing in the orchestra, within the section, studio/sight-‐reading techniques, and in an audition environment (screened or otherwise), to encourage students to engender a positive and professional manner in each situation. All timpani and percussion professors will be involved at some stage with these classes, particularly leading up to auditions for EUYO, PMF, Gustav Mahler Youth Orchestra, Verbier and Schleswig-‐Holstein Musik Festival etc, or when relevant positions become vacant within the profession. The playing techniques for all timpani and orchestral percussion instruments will be discussed in detail during these classes, providing an essential link and support to individual lessons. 2. Percussion Ensemble, which will give an annual concert in the Duke’s Hall, usually in the summer term, the programme for which will be decided by the Head of Department in close consultation with professors and students. All pieces will require some level of individual practice, particularly solo, duo and trio pieces, but rehearsals will generally be scheduled for the spring and summer terms, culminating in an intensive rehearsal period near to the concert date. 3. Vibraphone The course of study will include the analysis and performance of Joe Locke original compositions from such recordings as Van Gogh by Numbers, 4 Walls of Freedom, Dear Life, Force of 4 and the trilogy of duet recordings with pianist Frank Kimbrough (Saturn's Child, The Willow and Verrazano Moon). Investigating these pieces will also give the student the opportunity to focus on: a) development of a harmonic progression; b) the nature of melodic and harmonic improvisation including modes and scale/chord relationships; c) sound production (getting a good sound on the vibraphone); d) 4 mallet technique; d) insight into composition; e) The similarities and differences between classical music and jazz. The course will also include students writing their own music for solo vibraphone and/or percussion ensemble, to be analysed and performed by members of the class. General listening and ear training will be included in the course of study. 4. Masterclasses, which usually consist of three to four per academic year, will feature many of the finest players in the world. They will range from Principal and Section players in the great orchestras of the world, to soloists and experts in every facet of timpani and percussion playing, to keep the course as relevant and topical as possible. (See page 2 of this handbook and the RAM prospectus for recent visitors).
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FINAL EXAMINATION AND RECITAL REQUIREMENTS (SECOND YEAR OF A TWO YEAR COURSE) Recital Requirements There will be three separate examinations/recitals in the summer term covering three areas of study: 1. Concerto Examination (Solo Percussion/Marimba) 2. Final Recital (Orchestral Repertoire) 3. Drumset/LA/Ethnic These examinations/recitals will generally follow a set procedure as explained in the specific headings below. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements)
1: Concerto Examination (Solo Percussion/Marimba)-‐ 20-‐30minutes
The Solo Percussion/Marimba exam is designed to give the performer an opportunity to perform concerti, solo, duo and chamber music of their choice. The programme will be decided by the student in consultation with his/her professors, and may include pieces from the concerti/solo/duo and chamber music lists, and solo marimba music lists or indeed be new pieces or adaptations of existing pieces specifically arranged for timpani and percussion. The student may choose to perform a Concerto or Concertino; a solo percussion piece, (or equivalent multi-‐percussion solo); a solo tuned percussion piece (or duo) and a solo timpani piece or chamber work. The emphasis is on being as creative as possible in forming a ‘cohesive’ solo programme for the Final Recital. This exam will be open to the public.
Additional Solo/Duo/Concertino and Chamber Music For Solo Performance and Solo Percussion/Marimba Exams Keiko Abe Selected solo pieces for marimba Javier Alvarez Temazcal J. S. Bach Cello Suites for Marimba Bartók Sonata for Two Pianos and Percussion Britten Nocturne Benjamin Britten Young Person’s Guide to the Orchestra arr. David Corkhill Burrit 5 preludes Carter Sonatas for Timpani Miake Chain Ongaku no Tomo Chick Corea Children’s Songs G Determeyer The Train (for solo snare drum) Friedman/Samuels Carousel, Sunset Glow, Nyack Markus Halt Marimbasonic (Simrock) David Hollinden Cold Pressed Toshi Ichiyanagi The Source Maki Ishii Thirteen Drums op 66 Klatzow Inyanga (Percussion Music Europe) Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance John Psathas Drum Dances
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Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Rimey-‐Meille Une autre personne + Ecorce et l'Ame en soi Stephen Rush Inner Rebellion Stephen Rush Rebellion Sammut Cameleon Sammut Hombre et d' Aout Billaudot Sammut Kaleïduoscope (duo) kp 3 Sammut Stroboscope (kp 3) Sammut Zapping Trio (kp 3) Piazolla / Sammut Libertango (kp 3) Sejourné 5 pieces (Leduc) Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Nigel Westlake Fabian Theory Zivkovich Gretel Verlag Puccini/ arrgt Sammut Musetta's Waltz Sammut Marcello Sammut 3 Spirals Modern Japanese Marimba Pieces Book 1 New Repertoire/Atonal/Avant Garde: Jean Batine Caracteres for Piano and Timpani Nicolas Bolens Winds Island for Multi-‐percussion and Tape/Electronics Edmund Campion Losing Touch for Vibraphone and Tape/Electronics Peter Eotvos Halbfinal: Mve 6 'Triangle' for Solo Timpani and 27 musicians Morton Feldman King of Denmark for Multi-‐percussion Bruno Giner Etudes De Peaux for Multi-‐percussion Philippe Hurel Loops 1 + 11 for Vibraphone Pierre Jodlowski Mecano Pierre Jodlowski Time and Money Martin Matalon Short Stories for Vibraphone Martin Matalon Trame V111 for Solo Percussion and ensemble Luis Naon 3 Pieces for Timbales Emmanuel d'Orlando Sol Mire for Piano and Timpani Caolos Roque Alsina Reflet 1 + 11 for Vibraphone Stuart Smith Links 1 + 11 for Vibraphone Alessandro Solbiati Bois for solo Marimba Karlheinz Stockhausen Vibra Elufa Jesus Torres Proteus for Multi-‐percussion James Wood Jodo La Monte Young X for Henry Flint Also see music by George Aperghis, Anthony Pateras, Franco Donatoni and other works by Martin Matalon. Selected solo vibraphone pieces by: Joe Locke Gary Burton David Friedman Mike Manieri Bill Mollenhof John Mark Piper David Samuels
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2: Orchestral Repertoire -‐ 40 minutes (final recital equivalent)
The student will also be examined in ‘Orchestral Repertoire’, which will have been looked at in detail over the 2 year course, and the final exam list would as much as possible reflect relevant audition material currently being used by professional orchestras and repertoire ‘specific’ to each student as a result of their ‘tailored’ course. The final list will be drawn up from the extensive Postgraduate lists and the exact requirements will be issued to the students approximately 6 to 8 weeks before the examination again to reflect normal professional audition procedures. Examinations in Timpani and Percussion will at all times be conducted in an audition-‐like manner in order to give students as much experience as possible of performing in an audition environment. Students may be required to perform these examples in a number of different ways, illustrating the necessary flexibility needed for auditions and more especially reacting and adapting to specific requests from a conductor. This exam will be closed to the public. There may be a substantial interval between the Solo Performance and Orchestral Repertoire aspects of examination. All fourth Year BMus and Postgraduate Timpani and Percussion students will play their solo pieces in turn, to enable a ‘natural’ break before continuing with their orchestral repertoire. Students may continue with their repertoire testing immediately after their solo performance if they so wish. In cases where student numbers are particularly high, or if the student prefers it, the solo performance and orchestral repertoire examinations may take place on different days. Your choice of repertoire can have an impact on the mark awarded for the solo performance. Although it is important you do not set yourself challenges beyond your reach, you should also recognise that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study.
Timpani or Percussion only examinations For students opting to take a ‘Timpani’ or ‘Percussion’ only course, the amount of repertoire needed to adequately examine a student preparing one discipline will be that much greater. As with all other examinations for Timpani and Percussion, it will recreate as near as possible the format of a professional orchestral audition and will take into account the lack of solo material available for a timpanist during his/her Solo Performance on a timpani only course. 3. Drumset and Latin-‐American/Ethnic Percussion (Department specific area of the Professional Portfolio) The examination for Drumset and LA/Ethnic percussion will involve students being asked to perform on a variety of different instruments, inviting them to explore more ‘creative’ aspects of percussion playing, within the context of the music used in the examination. Students must play one piece of their own choice on drum-‐set from either the Dave Hassell ‘Graded Course for Drum Kit’ books or the Steve Houghton ‘Ultimate Drumset Reading Anthology’. All other pieces for this examination will be presented on the day by the drumset and LA/Ethnic percussion professors. Using CDs, it will recreate what the student may encounter in a studio or live situation, with the inclusion of a Big Band chart or small ensemble arrangement for drumset. There will also be examples of other styles of music from the different cultures studied during classes and lessons such as, Bossa Nova, Rhumba, Afro Cuban, and Samba etc, where the student will be expected to perform on percussion instruments relevant to the music being played, with a good concept of ‘time, feel, sound and musicality’, whilst displaying good listening skills. This examination will take into consideration the varied abilities of students’ in this area of related study, and will be marked on their individual ability, achievement and potential.
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Length of Examination 20-‐30 mins.
