Excerpts

[fenne1ca]

Hello all. I'm looking to audition for my University's orchestra in August, and I want to prepare some excerpts for it (rather than solo literature, which I used in December). What are some good excerpts (5 or so) to work on for this? I'm already planning to do Symphonie Fantastique IV and V for sure, probably Meistersinger too.

[tubashaman2]

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[ZNC Dandy]

What do they require you to play?

[tubashaman2]

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[fenne1ca]

Or you could ask Dr. Cox....

I asked Dr. Cox already, and he gave me a few suggestions, but I want other opinions, too.

What do they require you to play?

There is no requirement. Our director doesn't have requirements. She just wants to hear us play. I did some solo literature last year, but i want to get more ensemble-proficient, and I figured excerpts would be more appropriate, as well as making me seem like a better choice.

[TexTuba]

Or you could ask Dr. Cox....

I asked Dr. Cox already, and he gave me a few suggestions, but I want other opinions, too.

No offense, but if your teacher has already given you suggestions, why on Earth would you still be asking strangers who know NOTHING about your playing?

[fenne1ca]

He only gave me a spare few suggestions. I just want opinions on what excerpts in general are good ones to have under my belt, not necessarily which ones I personally should be focusing on. I want to know what the most useful (and most requested) ones are so that I can find ones that work for me, and thusly prepare an adequate audition.

[Todd S. Malicoate]

Here is a list of the most requested orchestra tuba excerpts that is very well done and well-researched.

I dislike auditions where the people trying out are told to play "whatever they want" because the panel just "wants to hear them play." I'll put it to the TNFJ...Say you have to choose a tuba player based on three candidates:

Player 1 - Plays the main Meistersinger excerpts fairly well. Some intonation problems, particularly a tendency to play sharp in the upper range. Rhythmic accuracy and consistent tempo are quite good, but musicality is somewhat lacking (not much shape of line, all "mezzo-nothing" dynamics). Tone quality is ok, but nothing to write home about.

Player 2 - Plays Fury III by James Grant. Quite a few fracks and missed notes, particularly in the wide leaps. Better shape of line and dynamic contrast than Player 1. Intonation is quite good (when the notes aren't missed, of course), and tone quality is also better than Player 1.

Player 3 - Plays Kopprasch Study No. 1. Pitch is quite good and consistent from low register to upper register. Tone quality is the best of the three at the beginning, but suffers a bit in the upper staff. Rhythmic integrity and tempo control are perfect, but dynamic contrast is only so-so.

Now, which player do you place in your orchestra for the entire year???

There must be a reason professional symphonies evaluate candidates on the same material. I like both apples and oranges, but I'd hate to try and determine which one is "better." Free choice auditions are fine for evaluating a single player for admission into a group, but they are terrible for competitive auditions where a "best" player needs to be chosen. The OPs problem would appear to be how to best solve such an equation...perhaps your best solution would involve considering what sort of competition you face for the chair and how to best showcase your playing so that it "stands out."

[fenne1ca]

Thank you so much! That list will definitely help me, along with supplementary advice from Dr. Cox. It's good to have a concrete list to reference. Thanks again!

[Watchman]

I'll put it to the TNFJ...

I suppose you have to go with player No. 2. It seems like 2 beats out 1, but might not beat 3. However, since 3 also played easiest music, there's no way to really tell how well he'd compare to 2.

I agree that this is an exceedingly dumb way to audition people. It might help a band director who likes to avoid difficult decisions. If there's no way to adequately compare players, you can just put them wherever you want. Thus bypassing the occasional drama and gnashing of teeth that occurs when the hard-working sophomore beats out the lazy senior on an equal playing field.

I know this isn't the case everywhere, but I know of several schools where seniority is the most important factor. Even when it is obvious who is the better player, the lesser gets the top ensemble because it is his "turn" to have it. I understand that you have to pay your dues, but I think hard work should be rewarded.