Composition __________________

Composer ____________________

Measure # 1 2 3 4 5 6 7 8
Form
Introduction
Phrase
Structure
Tempo

Dynamics
F Fp Fp F
Meter/Rhythm
2/4 time
Tonality
F
Harmonic
Motion
I
Orchestration timpani snare timpani tambourin tambourine,
timpani and snare and e and snare, and
timpani and snare tambourine tambourine tambourine snare timpani all players in
General
Character
Triumphant Entry
Means for
Expression The instruments enter one at a time, beginning with a Fp each time. This gives the next instrument a chance to come in and be heard.
Maybe exaggerate this even more to help with dynamic contrast?
Conducting
cue cue cue
Concerns timpani cue SD tambourine tambourine cue SD cue timpani cue Mallet Perc
Rehearsal
Consideration

Make sure that all the players are passing the moving line in time & listening for the main rhythmic motive. *make sure the tambourine
player is using knuckles in m. 4 and 6*

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Composition __________________
Composer ____________________

Measure # 9 10 11 12 13 14 15 16
Form
A
Phrase
Structure
Tempo

Dynamics
mf/mp/pp cresc. f/mf/mp
Meter/Rhythm

Tonality
F C d G7 C
Harmonic
Motion V7/V V
V vi
Orchestration
all players in
General
Character
Happy and Spirited
Means for In the first measure, the mallet percussion have a slurred grouping of eighth notes while the snare and other instruments have stacatto
Expression eighth notes. Bring out those differences instead of trying to mush them together in one articulation! It will be a lot more interesting that
way.
Conducting
Concerns neutral pattern, showing dynamics
Rehearsal
Consideration

Balance between mallet perc and snare (snare is p, but will most likely be overplayed). *make sure mallet perc sticking is correct on the trills
m. 12 & 16*

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Composition __________________
Composer ____________________

Measure # 17 18 19 20 21 22 23 24 25 26 27 28 29
Form
B
Phrase
Structure
Tempo
112
Dynamics
mp/p cresc to f decresc. mp/p cresc. f/mf/mp decresc. mf F
Meter/Rhythm

Tonality
A7 d e C F C F Bb
Harmonic
Motion III7 vi vii V I IV
V I
Orchestration
all players in
General
Character
Driving, Pushing Forward
Means for There is more harmonic support for the melody this time. This either means the melody should be brought out more or the other
Expression accessory percussion should play a bit over the mallet perc. Since all of these are repeated sections, do the first time through focusing
on one sound and the second time through listening and focusing around them instead of just playing their own part.
Conducting
Concerns staccato pattern, show the dynamic changes very aggressively
Rehearsal
Consideration Composite Rhythm between snare and
tambourine- then add in the timpani. Timpani note change in the middle of the phrase while still playing- work on aural skills to hit
Make sure they are counting and not that note each time. *continue with the passing of the composite rhythm between the other
waiting to hear the other person play voices*

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Composition __________________
Composer ____________________

Measure # 30 31 32 33 34 35 36 37
Form
C
Phrase
Structure
Tempo
112
Dynamics
F
Meter/Rhythm

Tonality
Transition Material (No melodic instruments used)
Harmonic
Motion
n/a
Orchestration snare and snare
stick woodblock and snare and
clicks stick clicks stick clicks snare, stick clicks, and castanets castanets, snare, mallet perc.
General
Character
Light, Crisp
Means for
Expression Show those stick clicks- this will create a new visual dimension for the piece. This section could potentially serve as an accelerando point,
since there aren't as many people playing.
Conducting
cue
Concerns cue SD cue castanets show less, let SD control tempo castanets cue mallet percussion
Rehearsal
Consideration

Make sure timpani is switching correct drums, this is a quick tuning change! *use gravity for stick clicks and ensure that they can be seen
from the audience*

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Composition __________________
Composer ____________________

Measure # 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54
Form
A' B'
Phrase
Structure
Tempo

Dynamics
Ff
mp/mf cresc F/Ff mf/mp mf/mp decresc. p mp/mf cresc.
Meter/Rhythm

Tonality
f Eb F C Bb Eb Ab C f C Db C
Harmonic
Motion i bVII I V bVII V i V V
IV bIII bVI
Orchestration
all players in
General
Character
Foreboding Falling, Waterfall
Means for The key center has changed, so this creates lots of opportunity to play
Expression with dynamics and ritardandos. Maybe use a contrasting tempo, since this There are tons of dynamic markings written. Play these agressively! They are
is an echo of A without being the exact same notated changes in the entire piece- make them important!
cue MAJOR DECRESCENDO *neutral
Conducting
accented mallet pattern to focus on dynamic crescendo- larger large and accented pat
Concerns cue all pattern perc 2 accented pattern change* pattern the musical growth
Rehearsal
Consideration Decrescendo while the parts get
Composite Rhythm in snare and castanets, Rolling in the timpani (make more complex- make sure they
sure the sticks are far enough apart and the roll isn't a double stroke) aren't focusing too hard and Terrace dynamics - p to mp to ff, *accidentals i
**KEY CHANGE FOR THE MALLET PERCUSSION INSTRUMENTS** playing too loud as a result percussion parts*

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 Composition __________________
Composer ____________________

Measure # 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69
Form
B' C' Coda
Phrase
Structure
Tempo

Dynamics
Ff mf F F mf cresc. Ff
Meter/Rhythm

Tonality
f F g C F
Harmonic
Motion I ii V I
i
Orchestration snare, snare, snare, tambou
stick woodblock, stick rine,
clicks stick clicks clicks snare, stick clicks, tambourine mallet all players in
General
Character
Falling, Waterfall Crisp, Light Happy, Sprightly
Means for Opportunity to play with tempo, since the instrumentataion is so thin here. *the
Expression
c markings written. Play these agressively! They are the most rhythms get more and more spread out, so most likely a rit followed by an accel Grad. Accel. To the end for a
anges in the entire piece- make them important! to get back into Tempo 1* more spectacular finish
BIG
Conducting
large and accented pattern to show show accents on 1 and cue accented pattern- leading back MAJOR CRESCENDO HIT ON
Concerns the musical growth written cue snare 2 tambourine to the A section accented pattern ONE
Rehearsal
Consideration
Make sure timpani is switching correct drums, this is a quick tuning change! Vertical Alignment- Make sure
Terrace dynamics - p to mp to ff, *accidentals in the mallet Listen for composite rhythm in 61 & 62 through snare and tambourine *use the roll is ended all at the same
percussion parts* gravity for stick clicks and ensure that they can be seen from the audience* time for a clean cutoff!

Page 6
Composition __________________
Composer ____________________

Measure #
Form

Phrase
Structure
Tempo

Dynamics

Meter/Rhythm

Tonality

Harmonic
Motion
Orchestration

General
Character
Means for
Expression

Conducting
Concerns
Rehearsal
Consideration

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