SCHOOL BOARD OF BREVARD COUNTY Educational Services Facility

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SCHOOL BOARD OF BREVARD COUNTY Educational Services Facility

2700 Judge Fran Jamieson Way Viera, Florida 32940-6601

SCHOOL BOARD MEMBERS Amy Kneessy, Chairman

Dr. Barbara A. Murray, Vice Chairman Karen Henderson

Robert Jordan Andrew Ziegler

SUPERINTENDENT Dr. Brian T. Binggeli

DIVISION OF CURRICULUM AND INSTRUCTION ASSOCIATE SUPERINTENDENT

Ms. Cyndi Van Meter

AREA SUPERINTENDENTS Dr. Ronald Bobay

Ms. Sandra Demmon

Mr. Mark Mullins

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All-County Preparation Packet, High School Cello, Rotation #4, p. 2

SCHOOL BOARD OF BREVARD COUNTY Educational Services Facility 2700 Judge Fran Jamieson Way

Viera, Florida 32940-6601 Amy Kneessy, Chairman Dr. Barbara A. Murray, Vice Chairman

Karen Henderson Robert Jordan Andrew Ziegler SUPERINTENDENT

Dr. Brian T. Binggeli

____________________________________________________________________________________________________________________________________________________________________________

NONDISCRIMINATION NOTICE

It is the policy of the School Board of Brevard County to offer the opportunity to all students to participate in appropriate programs and activities without regard to race, color, gender, religion, national origin, disability, marital status, or age, except as otherwise provided by Federal law or by Florida state law.

A student having a grievance concerning discrimination may contact:

Dr. Brian T. Binggeli Superintendent Brevard Public Schools

Ms. Cyndi Van Meter Associate Superintendent

Division of Curriculum and Instruction Equity Coordinator

Dr. Walter Christy Director Office of Secondary

Programs

Ms. Pam Treadwell, Director ESE Administrative

Support Services ADA/Section 504 Coordinator School Board of Brevard County

2700 Judge Fran Jamieson Way Viera, Florida 32940-6601

(321) 633-1000

It is the policy of the School Board of Brevard County not to discriminate against employees or applicants for employment on the basis of race, color, religion, sex, national origin, participation and membership in professional or political organizations, marital status, age, or disability. Sexual harassment is a form of employee misconduct which undermines the integrity of the employment relationship, and is prohibited. This policy shall apply to recruitment, employment, transfers, compensation, and other terms and conditions of employment.

An employee or applicant having a grievance concerning employment may contact:

Ms. Susan Standley Director

Office of Compensation & Benefits

Ms. Joy Salamone, Director Human Resources Services

and Labor Relations School Board of Brevard County

2700 Judge Fran Jamieson Way Viera, Florida 32940-6601

(321) 633-1000

This publication or portions of this publication can be made available to persons with disabilities in a variety of formats, including large print, Braille or audiotape. Telephone or written requests should include your name, address, and telephone number. Requests should be made to Kim Riddle, Exceptional Education Projects, 631-1911, extension 535, at least two (2) weeks prior to the time you need the publication

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Brevard Public Schools

All-County Orchestra Preparation Packet

Writing Team

Laura Pinfield, Violin, Hoover Middle School Linda Waid, Viola, Edgewood J/S High School Dr. Tom Silliman, Jr., Cello, Southwest Middle School

Tim Ashe, Bass, Eau Gallie High School Division of Curriculum and Instruction

Associate Superintendent Cyndi Van Meter

Elementary Programs Director Lynn Spadaccini

Middle School Programs Director Dr. Beth Thedy

Secondary Programs Director Dr. Walter Christy

K-12 Music Resource Teacher

Cynthia S. Johnson

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Brevard All-County Orchestra Preparation Packet

Introduction:

The purpose for these packets is to familiarize the prospective All-County Orchestra student with the techniques needed to audition for the All- County Orchestra string section and to perform adequately as a member of the All-County Orchestra string section. Although it can be utilized in class instruction, it is not meant as a replacement curriculum guide, nor is it meant to direct the course of study of any private teacher. Rather, it is a sequential course of study to motivate students and to provide them with a sequenced range of materials that they can work through independently, in order to attain the techniques they need for the All-County level. It will help students make the transitions from the class elementary orchestra to the middle school orchestra and the middle school orchestra to the high school orchestra.

Suggested Use:

The scales, etudes, solos, and orchestral excerpts are intended to be given to students in November to be used for study throughout the year in preparation for the following year’s audition. Opportunities for in-class review of the packets include a “Class Ensemble” in Step 5. In the middle school packets, the second audition excerpt is one that may be learned as a class exercise. It is suggested that an overview of the packets be provided to the students in a sectional setting. Students motivated to audition for the All-County Orchestra will work through the packets independently.

The middle school packets are on a two year rotation and the high school packets are on a four year rotation; both avoid repetition for any student who matriculates normally. The audition excerpts are on the last page of each packet for each year.

Description and Layout:

These preparation packets are designed as a series of steps: eight for middle school and eleven for high school. Each step contains one or more excerpts from standard etude books, an excerpt from a solo work, and scales. In all cases, the sources of the excerpts are noted. Practice hints are given with each section. It is of great importance that the students purchase the recommended etude books and solo repertoire, as the excerpts given are only introductions to the standard repertoire.

The scales do not have fingerings; these are already available for the student on the Brevard All-County Scale sheets. However, the scales are broken into learning steps for ease of practice, and the required scales are notated as such.

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Brevard All-County Orchestra Preparation Packet

High School Rotation #4-Cello

The following Next Generation Sunshine State Standards are addressed in this packet:

MJ Course Level

Standard HS Course Level

Levels 2,3,4 MU.68.C.1.2/MU.912.C.1.2 All Levels All Levels MU.68.C.2.1/MU.912.C.2.1 Levels 2,3,4,5,6 Levels 3,4 MU.68.C.2.2/MU.912.C.2.2 All Levels All Levels MU.68.O.1.1/MU.912.O.1.1 Levels 2.3.4.5.6 Levels 3,4 MU.68.O.2.2/MU.912.O.2.2 Level 6 All Levels MU.68.O.3.2/MU.912.O.3.2 All Levels All Levels LACC.68.RST.2.4/LACC.910.RST.2.4/

LACC.1112.RST.2.4

All Levels

All Levels DA.68.S.2.1/DA.912.S.2.1 All Levels All Levels MU.68.S.2.1/MU.912.S.2.1 Levels 3,4,5,6 All Levels MU.68.S.2.2/MU.912.S.2.2 Levels 2,3,4,5,6

MJ Course Level

Standard HS Course Level

All Levels MU.68.S.3.1/MU.912.S.3.1 Level 6 All Levels MU.68.S.3.2/MU.912.S.3.2 All Levels

All Levels MU.68.S.3.3 N/A

All Levels MU.68.S.3.4/MU.912.S.3.4 Levels 2,3,4,5,6

All Levels MU.68.S.3.6 N/A

Levels 2,3,4 LACC.68.WHST.3.9/LACC.910.WHST.3.9/

LACC.1112.WHST.3.9

Levels 2,3,4,5,6

N/A MU.912.C.3.1 All Levels

N/A MU.912.F.3.4 Levels 4,6

N/A LACC.910.SL.2.4/ LACC.1112.SL.2.4 All Levels

N/A LACC.1112.WHST.3.7 Levels 5,6

How to use this self-study packet: Practice using the steps presented, playing scales, études, and solos daily. The scales you need for the All- County audition have an asterisk, and are in bold. You will find that none of the scales included in this packet have fingerings. Use the Brevard All- County scale sheets to find a good fingering, or ask your teacher. These scales need to be reviewed throughout the year in order to maintain them for the audition. It is strongly suggested that you purchase étude books and solos to enhance this packet, which is only a sample of the standard repertoire. There is a list of suggested titles at the end of this packet.

Use resources to learn terms you do not know, listen to performance examples, and view video and web casts to see proper technique in action.

Your library may have the Harvard Dictionary of Music, and there are numerous sites on the web that are excellent.

The following information is listed for each excerpt. Remember that daily practice in small steps will help you develop into an All-County Orchestra member!

Step Number

Suggested Timeline

Title Composer/Arranger Publisher

In this area you will find instructional tips and information.

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STEP 1

Étude Step 1

October 170 Foundation Studies for Violoncello, Vol. 1, Etude No. 50 Dotzauer, ed.

A. Schroeder

Carl Fischer Play at the balance point of the bow to help with the string changes. Keep the bow into the string and work for a nice clean sound. Use good forward extension technique. This is necessary in every measure except measure 2.

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All-County Preparation Packet, High School Cello, Rotation #4, p. 7 Scales

Step 1

October Review from Middle School All-County Scales:

C Major two octaves

G Major two octaves (Sr. High All-County Scale)*

These scales do not need extensions to be played. Review hand position, shifting, and intonation.

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STEP 2

Excerpt Step 2

October Overture to “The Barber of Seville” from Orchestral Excerpts from the Symphonic Repertoire, Vol. 2, p. 43

Rossini, ed. Rose International Music

Company The eighth notes need to be played with a spiccato bow stroke. This is true even for measures 9-12 even though the articulation marks are absent.

Measure 4 uses shorthand notation for eighth notes. In measures 6 and 7, start the three eighth notes with an up bow. Use a bow lift in measures 8, 13, 15, 17, and 18 to produce the down bow accent on beat 2.

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Step 2

October Review from Middle School All-County Scales:

B-flat Major one octave E-flat Major one octave A Major one octave D Major two octaves

F Major two octaves (Sr. High All-County Scale)*

These scales require extensions. For the backward extension, move the first finger away from the second finger towards the nut. Keep the rest of the fingers in their normal position. The first finger will not be as curved as it is in normal hand position. The side of the finger, as opposed to the fingertip, will be instrumental in pressing down the string.

A forward extension involves moving the first finger away from the hand as done in a backward extension while the arm moves the hand (including the thumb) a half step higher on the fingerboard. Some cellists choose to avoid the extension on the A string when playing the F major scale by using half position for the A and B-flat.

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STEP 3

Solo Step 3

November Sonata in C Major, 1st Movement, from Suzuki Cello School, Vol. 4

Breval, ed. International Suzuki Association Cello Committee

Summy- Birchard The triplets can be played off the string. Pay careful attention to the dynamic markings, especially the placement of the piano marking in measure 94. Be sure to lift the bow at beat 4 of measure 101 and use two bows in measure 102. The quadruple stops in the last measure should be played starting on the bottom two notes. Sound these notes with a fast bow speed and then quickly change the bow level to the upper two notes.

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All-County Preparation Packet, High School Cello, Rotation #4, p. 12 Scale

Step 3

November Review from Middle School All-County Scales:

C Chromatic two octaves (Sr. High All-County Scale)*

All the shifting is between half position and second position. Practice shifting slowly and carefully. Ultimately, shifting should sound calm and unhurried. Put less weight into the string with your left hand during the shift. Put weight back into the string when you arrive at the new note. Maintain good left hand shape throughout the shift.

STEP 4

November 170 Foundation Studies for Violoncello, Vol. 1, Etude No. 47 Dotzauer, ed.

A. Schroeder

Carl Fischer Save the bow in such a manner that there will be plenty of bow available for the crescendos in measures 2, 4, and 6. Strive to keep a smooth bow during shifting. To help with this, be sure to practice the shifts slowly and carefully which will result in more relaxed shifting. Fast and abrupt shifting motions

need to be avoided when using legato bows.

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Step 4

November E-flat Major two octaves

For the ascending scale, shift to third position to play the G of the second octave. Shift back to second position to play the C on the A string.

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STEP 5

December Trepak from “Nutcracker Suite” from Orchestral Excerpts from the Symphonic Repertoire, Vol. 1, p. 61

Tchaikovsky, ed. Rose International Music

Company This is a very fast passage, so a sautillè bowing should be used for the sixteenth notes in measure 7. This is a bow stroke where the notes are played so fast that the bow bounces off the string naturally. To make this happen, keep the bow hand very flexible and use an extremely short bow stroke at the balance point. The bowing that is marked in measures 1 and 9 should also be used in measures 3 and 11. Use fourth finger on the D string to play the A in measures 3 and 11. Use second finger on the A string to play the E in measure 7. Use second finger on the D string as part of an extended hand to play the A in measure 15.

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Step 5

January E Major two octaves (Sr. High All-County Scale)*

A-flat Major two octaves (Sr. High All-County Scale)*

A universal finger grouping pattern is used when there are four or more accidentals in the key signature. The fingering is:

1x2x4-1x2x4-124-124-134. On some of the higher three octave scales (any higher than F) the last 134 grouping can be changed to a violin finger pattern of 1-H2-3.

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STEP 6

Solo Step 6

February Rondo from Concerto No. 4, from Suzuki Cello School, Vol. 5 Goltermann, ed.

International Suzuki Association Cello Committee

Summy- Birchard

Pay careful attention to the bowings, especially the placement of the slur in measures 27-28. The use of an up-down bowing on the dotted rhythms in measures 5-7 and 13-15 is not very common, but it works for this passage. This edition is one of the first to not have the direction to play these measures at the “point” or the tip of the bow. To do so is very difficult to control, and it can be done easier at the middle of the bow. Save the bow in measures 4 and 12 to keep the bow from going all the way to the tip.

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Step 6

January G Melodic Minor two octaves (Sr. High All-County Scale)*

For the arpeggio, play the first three notes of the second octave in third position to avoid using an extension.

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STEP 7

February The Artists’s Studio for Strings, Étude No. 5 Kreutzer, ed. Epperson, Spinosa, and Rusch

Neil A. Kjos The main focus of this étude is shifting from first finger to fourth finger. Use the first finger as a guide finger. Shift on the first finger (with shifting weight, not playing weight) and place the fourth finger on the string upon arrival at the new position. The marking at measure 5 is to indicate playing the C in the beat two pattern on the C string. Using the fourth finger at this part of the fingerboard is unusual, but is possible in this case because the note is a natural harmonic and the string doesn’t necessarily have to be pressed all the way down to the fingerboard to get a nice sound.

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Step 7

February A Major two octaves (Sr. High All-County Scale)*

Good forward extension technique is required for the first octave of the scale. No matter which fingering is used for the scale, it is preferred that the second octave arpeggio C-sharp and E are fingered with first and fourth fingers. It is acceptable to use a harmonic for the highest note of the arpeggio.

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STEP 8

March Symphony No. 8, 1st and 4th Movements, from Orchestral Excerpts from the Symphonic Repertoire, Vol. 2, p. 26

Dvorak, ed. Rose International Music Company The passages given are two very famous cello section soli passages. Play the passages expressively, carefully observing the dynamic markings. Practice the shifting carefully so that it is controlled and will not interfere with the lyrical quality of the music. Even though it is not marked in the passage, the two B-flat quarter notes should be played with a portato bowing like the bowing in measures 1 and 12.

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Step 8

March B-flat Major two octaves (Sr. High All-County Scale)*

Practice backward extension technique. The highest three notes can be played in sixth position, and many cellists do this without bringing the thumb out from behind the neck. This is usually dependant on the size of the hand.

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STEP 9

Solo Step 9

April Sonata in G Minor, 2nd Movement, from Suzuki Cello School, Vol. 7 Eccles, arr. International Suzuki Association Cello Committee

Summy-Birchard

As is common when playing Baroque music, the running sixteenth notes can be played detachè and the eighth notes can be played staccato with an on the string bow stroke. The consecutive up bows should be played as a grouped staccato bowing. The trill should start from the upper note.

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Step 9

April C Major three octaves (Sr. High All-County Scale)*

The thumb must come from behind the neck for seventh position and higher. Have the thumb follow the first finger approximately in position to play a whole step lower than the first finger. The side of the thumb should just lightly touch the string as it is not needed for any specific note in the three octave scale fingering. It is necessary that the thumb make some contact with the string to keep a balanced hand and help the agility of the fingers. The thumb will eventually be used to finger a note in the G major three octave arpeggio and any other three octave arpeggio that starts on the G string. There are two commonly accepted fingerings for the C major scale. One of them is the application of the “third octave universal fingering.” In this fingering, after the second octave is completed, the last seven notes of the scale are played with a 12-12-123 fingering. The first 12 is replaced with a 13 on the C and D third octaves because of their location on the fingerboard. There is also a universal fingering for all three octave arpeggios that begin on the C string: After the first note (tonic), shift to first finger and play 142-132-132. Shifting in the arpeggio always occurs after the tonic note (the note that is the name of the scale). The string change occurs between the third and second fingers.

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STEP 10

May High School of Cello Playing, Op. 73, Étude No. 34 David Popper, ed. Nathan Stutch

International Music Company Practice the two voices separately before combining them. This will help with mastering the shifting. Use the whole bow. Practice the double-stops with separate bows and make sure you have the double-stops mastered before practicing with the slurs. To add the thumb at measure 2, bring it from behind the neck on the last note of measure 1 and place it on the A string three half steps behind the second finger. Keep the hand shape consistent when going to beat three in measure two. Each voice is moving up one half step. The thumb can be returned to its normal position at beat four of measure 2.

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Step 10

May D Major three octaves (Sr. High All-County Scale)*

See scale step 9 for information on fingering three octave scales and arpeggios.

STEP 11

Summer Enigma Variations from Orchestral Excerpts from the Symphonic Repertoire, Vol. 1, p. 33

W. A. Mozart, ed. Rose International Music Company This famous cello section soli passage, which includes a few measures of solo playing, provides an excellent opportunity to develop expressive shifting and musicality. Pay close attention to the dynamic markings.

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Step 11

Summer E-flat Major three octaves (Sr. High All-County Scale)*

See scale step 9 for information on fingering three octave scales and arpeggios.

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Audition Selections for Sr. High School All-County Orchestra Rotation Year 4

Excerpt #1

^Summer

through the audition

Forty Melodic and Progressive Études, Op. 31, Vol. 1, Étude No.

17

Sebastian Lee, ed.

Leo Schulz

G. Schirmer

There are several finger replacement shifts in this étude. These are shifts where the note stays the same, but the fingering changes. Most of the first position and fourth position fingerings require extended hand position. The only exception is in the last complete measure of notes.

In this measure, the first position is in normal hand position. Most of the second and third position fingerings require normal hand position.

Once again, the only exception will be found in the last complete measure. An extension is needed in the second beat to play the D and B- natural.

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Excerpt #2

^Summer

through the audition

Symphony No. 2, 2nd Movement, from Orchestral Excerpts from the Symphonic Repertoire, Vol. 2, p. 17

Brahms, ed. Rose International Music Company This is another famous cello section soli. It is very lyrical in quality. Make the bow changes as smoothly as possible. The eighth notes in measure 3 should be played as long as possible with just a slight separation between the notes. Play the sixteenth notes in measures 4 and 5 with an up bow.

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Scales and Arpeggios for All-County Audition

You will be asked to play two scales and arpeggios from the following. Play even eighth notes, as written in this packet, including given tempo markings

Major Scales

Two octaves: G, A, E, F, B-flat, A-flat Three octaves: C, D, E-flat

Minor Scale

Two octaves: G (melodic version)

Chromatic Scale

Two octaves from C to C

Sight-Reading for All-County Orchestra

You will be asked to sight-read an eight measure composition

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Reference List

A. Instructional and Étude Books

Epperson, Gordon, Frank Spinosa, and Harold W. Rusch. The Artist’s Studio For Strings: Shifting Development Studies. San Diego, CA:

Neil A. Kjos, 1986.

Lee, Sebastian. ed. Leo Shulz. Forty Melodic and Progressive Études, Op. 31, Vol. 1. Milwaukee, WI: G. Schirmer, 1902.

Popper, David. ed. Nathan Stutch. High School of Cello Playing, Op. 73. New York: International Music Company, 1982.

Schroeder, Alwin. 170 Foundation Studies for Violoncello, Vol. 1. New York: Carl Fischer, 1906.

B. Solo Collections

Cheney, Carey. Solos for Young Cellists, Vol. 3. Van Nuys, CA: Summy-Birchard, 2004.

Collier, Franklin, ed. Cellists Favorite Contest Album. New York: Carl Fischer, 1944.

Suzuki, Shinichi, ed. Suzuki Cello School, Vol. 3, Revised Edition. Secaucus, NJ: Summy-Birchard, 1992.

Suzuki, Shinich, ed. Suzuki Cello School. Vols. 4-7, Revised Edition. Miami, FL: Summy-Birchard, 2003.

Vivaldi, Antonio. ed. Luigi Dallapiccola and Leonard Rose. New York: International Music Company, 1955.

C. Orchestral Excerpts

Rose, Leonard, ed. Orchestral Excerpts from the Symphonic Repertoire for Cello, Vols. 1-3. New York: International Music Company, 1953.