12/28/2023 0 Comments Repertoire list templatePercussion ensembles may NOT double parts.Ĭhamber winds MUST be performed in the exact instrumentation listed - NO DOUBLING, NO SUBSTITUTIONS. There must be at least two(2) players per part.* In addition to listed choir music, quartet, quintet, and sextet music may be used to form choirs. Instruments bracketed parenthetically indicate optional parts. Mallets : Mallets soloists may play grade 1, 2 & 3 Flute and Oboe Literature.*.Treble Clef Baritone may play from the Trumpet List Grades 1-3.Change the category in MPA Online to the correct instrument.* Euphoniums: Trombone and Euphonium lists are interchangeable.Appropriateness of chosen repertoire should be considered. Bass Trombone may play from the Tuba List.The interchangeability of Trombone and Euphonium parts applies to Brass Ensembles, as well as the Solo List.* Trombones : Trombone and Euphonium lists are interchangeable.Mixed Ensembles : Mixed ensembles may use substitute instruments only as included on the original score.Saxophone solos : Soprano Saxophone may play from the Tenor saxophone list.*īass Saxophone may play from the Baritone Saxophone list.īaritone saxophone may only play from the Alto Saxophone list with special permission from the S&E Music Committee Chair.Change the category to Bass Clarinet Solo. Bass Clarinet may play from the Bb Clarinet List.Eb Clarinet : Eb Soprano Clarinet may play suitable music from the Bb Clarinet list.*. Bassoon Trios may play off the Trombone Trio List.Oboe Trios may play from the Flute Trio List with alterations to range permissible.Oboe / English horn : English horns may substitute any double reed solo from the list.*.Keep in mind the selection will also be evaluated on its suitability.* Piccolo : Piccolos may select music from the flute list.Middle school student conductors may choose any piece from the FBA concert music list with at least 3 different meters.īrowse and Search the Current Solo & Ensemble List Five Little Dances (any three contrasting meters) by Creston/Longield (Gr.Early English Suite by Duncombe/Finlayson (Gr 2).You'll see a lot of pro musicians doing their audience interaction and talking in the middle of a song before building it back up again so they can get their message across without that horrible awkward silence mid-set.Sight Reading Rubric/Content Guidelines 2018 Finding parts in the set where you actually say things in the downtime of the song or a build-up within a song should be factored in. You want to keep all the songs together and minimize the space and gaps between songs. The audience starts to get nervous and fidgety, this is when they go to the bar or the toilet or look at their phone. It has to have a specific home and every band member needs to be aware of how and when you will do this.įrom the end of each song to the start of the next one, the audience’s attention span will be declining rapidly.Įvery second is like a minute when you are not playing music. You might want to promote your next concert or new album. What are you actively trying to push right now? Anything where there’s a message you want to share, you need to include it in your set. What are the key messages you want to get across to the room during a gig? These should be factored into your live music set alongside the songs you want to perform. If you don't have a song that creates the same effect in your set list, try and write one specifically to open your shows with. Both musically and lyrically they are crafted to blow minds and set the mood from the off. Think about these 3 songs and what they have in common: Why not even think about writing a specific opening song for a set? Once you’ve got them in the palm of your hands, you can pretty much play anything you want. This is your chance to carve out your space and win the crowd over with your stage presence in the opening moments. You want people to stand there and be like "WHOAH" when you start playing. You’re opening song should hit them like a tonne of bricks. Why? You need to make a statement that you’re not messing around. You should put your best and strongest song at the beginning of your set list. People might be at your gig who haven’t seen or heard you play before. Later on in your career, once you’ve had some hit records and people are coming and paying to see you live, you can start putting your big hits at the end of the set.īut right now, we are interested in first impressions. It comes from seeing our favourite bands do this at live shows and thinking as unsigned artists, we are capable of doing the same thing. One of the biggest mistakes I see bands and musicians making in their set list creation is leaving their biggest and best song near the end of the night.
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