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For music school auditions, would this sound like a good selection of pieces to be able to play for auditions? The Vaughn Williams and John Williams tuba concerto, the Plog 3 miniatures, and penderecki capriccio. For a big name music school, if played well, does this rep. provide a good chance of being accepted into schools?

You need to find out what the teacher at each school will want to hear. No school is going to select you based completely off of the rep that you choose. They want to hear you perform something at your best, regardless of whether or not they have required audition pieces. The audition will probably only be 15 minutes long, so it's best to make those the best 15 minutes they can be. When I auditioned at Peabody, I was told to prepare Wagner's Meistersinger Overture, the 1st movement's B section of the Vaughan Williams Concerto, and Rochut #2. For my Grad audition, I played James Grant's Stuff and the Frakenpohl Sonata.

Don't present yourself as I have seen so many young players: "this is the hardest rep I have seen/heard, so I will show off how well I can play it and impress the teachers." The odds are, that no matter how well or bad you play, these teachers will have seen better and worse (and therefore won't be impressed, nor care about the difficulty of your total rep). Find out what they would want to hear and play it the best you can, and, if they don't have any required rep, pick some contrasting etudes, or solos, that will fit in the allowed time (again, probably only 15 minutes) that are meant to show off various aspects of your playing without trying to impress anyone. Again, no teacher will pick you to come to there school just based off of your audition rep. And, honestly, I have seen people get accepted, with scholarships, that played easier rep (but played it really well) over those who came in and did a mediocre job playing extremely hard rep.

This may sound like a harsh question, but do you take private tuba lessons? Most (if not all) of the questions you ask would be best answered in the course of private lessons with a good teacher. Not only will he know the repertoire, but he will also be in a good position to help you pick music that will best show off your strengths.

Unless you live in the middle of nowhere, most universities and colleges would likely have someone who would be willing and able to guide you in the right direction.

It might be a good idea, if you don't, rather than relying on the TNFJ for guidance. Preparing for entry auditions is a serious business, too serious to rely upon a Web forum for answers.

And if you are taking lessons, do you trust his/her judgment when/if you ask these questions?

Just a thought....

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Our instrument has so few "standards" that it's kind of a shame. If you want to learn the fancy stuff, a teacher will pick you up where they see potential. Your good habits, sense of rhythm and pitch, will make a good impression, and attention to the basics of music will pay dividends. If I had to audition somewhere I would redouble all my warm up time, and then maybe redouble it again. A "daily routine" can be an entire practice session, and it's not a waste of time by any means.

No offense to you, but it really doesn't matter what you play.. If you play with good time, sound, and intonation you'll get into just about anywhere. Rather than playing JW, which is one of the most difficult pieces that has been written for the tuba. You should like everyone else has already instructed you to do and send a message to every teacher you plan on audition for. If you only have a CC tuba play something meant for the contrabass tuba. Like I've already said no offense is being meant, but unless you're auditioning for a graduate level spot the literature you listed isn't necessary. It's a better idea to play something you can play pretty much flawlessly than to play something you can barely get through.

Hope this helps and I hope you weren't offended,
Zac

I played rochut no.5 and bordogni 37 and got into both schools that I applied to. It was just a matter of how much emotion/feeling I put behind my performance. Anybody can play notes real fast and make a big sound, it takes talent to breath life into whatever you're playing and make the listener feel something when you play.

My $0.02

I've been listening to a podcast called " the brass junkies" available through iTunes for free. They recently interviewed Dan Perantoni who said he was looking for a great sound and natural talent. This is an extreme paraphrase,and I suggest you listen for yourself.

All good advice especially, Robert.

Nowadays, most any school you might be looking at should have a list of their audition criteria on a website somewhere. If it doesn't, there should be at the very least a contact person (i.e. a teacher) to examine your planned literature and approve it. As has already been mentioned, the literature itself is secondary to the way it's played - a beautiful Rochut is going to be more impressive than a slaughtered Vaughan Williams.

Personally, I'd rather hear an applicant really swing on "Asleep in the Deep" than hear an incoherent Monti "Czardas".

When i played for master degree studies i played 3 pieces: Tuba Buffo,R.V.Williams(all 3 mov.) and
A.Plog 3 miniatures.

As a'vista they give me Orchestra Excerpts and i played prokofiev and Stmphony Fantastic H.Berlioz


When i played exam for orchestra in my country we have always R.V.WILLIAMS and few tuba Excerpts(sometimes we must play some gama)

It don't matter that much in my opinion. Play what sounds good, but also take some risks. Taking calculated risks will set you apart- boring people play it safe. It's best to make a personal connection with your teacher first. Actually, that principle applies to many other things in life, but I digress. . .

I got into most of the places I auditioned for, but I suspect driving out and meeting the teachers beforehand helped a lot. They must have liked my work ethic or manners or something like that? I played Penderecki's Capriccio as my main solo, mostly because I thought it was fun sounding. I also played some of Ewazen's Concerto for Tuba or Bass Trombone (I think the RVW is over-played), and I loved it. Then, I learned the the parts (not just the excerpts) for about 10 common orchestral pieces, and then some other pieces I did for fun. I played Meistersinger on F tuba and nobody really cared. I then played a Snedecor etude and one of several Rochuts. I ended up getting most of the Blazhevich book and the first 60 Rochuts to a reasonable level as part of the process.

The Bach Cello Suites were one of my favorite things to play on F tuba, but I could never get them good enough. Hats off to those who can. If I could do it all over again I'd try to play the Prelude to Cello Suite #1, or the Flute Partita in A minor.


I ended up burning out on practicing as well as developing a taste for specie. I'm now in a completely different field and I don't play tuba very much anymore. Don't practice 5 hours (with 4 hours of ensembles) everyday like I did. Go have fun with it!

Is this for grad school or undergrad? I can't think of an undergrad program that requires that much. I also think it may be pretty heavy for a grad school audition. Peabody asks for a 'senior undergraduate recital'.They are most likely going to ask you to play about 15 minutes of your rep. In my experience, like many others here, they want to know you sound good, and that you can learn from them. Wherever you go, go in with an open mind, and be an intellectual sponge.