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Brandt .34 Studies International No. 1391

Selection 1Page(s): 8-9Key: C Minoretude Title: No. 7Tempo: Quarter note 88-116

Play from Beginning to end.Errata:

m. 1, m. 9, m. 23 - Remove the marcato marking found in these three measures.

m. 7 - The eighth note on beat 4 should be a quarter note with a tenuto mark.

m. 18 - The last sixteenth of beat 3 (F#) should have a staccato mark. (m. 18 and m. 20 shouldmatch)

m. 20 - The last two sixteenths of beat 4 (D natural and B natural) should have a staccatomark. (m. 18 and m. 20 should match)

m. 23 and m. 25 - The grace notes on the fifth beat in both measures are slurred into thefollowing sixteenths as found in m. 1 and m. 3.

Performance Guide: ,:

The opening of this etude should be lyrical and connected, with clear articulation - performersshould omit the marcato indication completely. Be aware of the indicated breath mark foundbetween beats 4 and 5 in m. 2, this happens several times (ms. 10 and 24) and could berepeated in other spots as needed by the performer. In m. 8, trumpeters should play the gracenotes slightly before the beat - this measure should be played exactly in time with no rubato.Very often this measure will determine the best tempo of this etude for the performer.

The second "theme" of this etude begins in m. 17 and features many awkward skips. It shouldbe the goal of the performer to play these skips as smoothly as possible. Measures 21 and 22should be played exactly in time without any rubato. Be aware of the indicated dynamics in thissection, typically they are overlooked. The dynamics and articulations are very clear in thisetude and should be followed with upmost care for a successful performance. Staccato does notmean short, but detached, or separated and should be approached with this idea in mind.

Selection 2Page(s): 30-31

Key:Etude Title: No. 30Tempo: Dotted Quarter Note = 56-72

Play from Ms. 33 to end.

Errata:

m. 93 Third note should be an F natural

PeWormaÿce G.ide;

This focus of this etude is rhythm and phrasing, in the first section (of this excerpt) performerswill alternate between triple (meter) and duple (meter). Figures as found in m. 40 should betreated as duple eightÿnotes (two to the bar) and figures as found in m. 57 will be treated asduple sixteenthonotes (four to the bar). Feeling this etude in ONE (to the bar) will helpconsiderably. All duple eighth notes (like in m. 40) are slurred with exception in ms. 63-64,which will be lightly articulated.

While some breath marks are provided and give clues to the phrasing, the performer will mostlikely need to add a few breath marks that are not given. It is the selectors opinion that addingbreath marks will ADD to the performance, rather than take away.

Starting in m. 81, the placement of the slurs will give the musical line a feeling of two againstthree OR duple meter. Notice that the articulations are: tongue 2, slur 2, tongue 2, slur 2, etc.In this instance a feeling of duple is encouraged and provides variety to the etude. All linesshould be played as lyrically as possible regardless of difficulty.

Selection 3Page(s): 16Key:Etude Title: No. 15

Tempo: Dotted Quarter Note = 60-76Play from Beginning to end,Errata:

m. 29 - Add a F (forte) marking starting on the downbeat.

Performance Guide:

This etude should have a nice lilt without sounding hurried, rushed or frantic. Attention shouldbe given to the placement of slurs throughout the etude. (ms. 1 and 2: slur 3, tongue 3; m. 4:slur 2, tongue 4, ms. 5 and 6: tongue 1, slur 3, tongue 2)

Overall, the dynamics are softer with exceptions in m. 29 and m. 61 - avoid playing too loudly.The articulation should not impede the musical line and should be a smooth as possible. Mostlikely m. 36 though m. 49 will give performers the most trouble, be careful that this sectionstays exactly in time until the molto rit. in m. 47. The arpeggios in m. 65-69 can also betroublesome, experiment with alternate fingerings for the best facility and intonation.

Terapo di Valse (J.: 60 > v...io., types of slurred articu_lations may be used to good advantage hex

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*All studies in this collection marked with an asterisk must be practiced in the manner indicated below each study.

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This study is based on a theme from Tchaikovsky's "Capriccio Italien"AllegI°o moderato (J=120)

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Adagio Caÿrÿ_ÿabile (J =66) Play as smoothly as possible

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