TRUMPET
 

All trumpet students will be asked to perform several major scales, plus arpeggios.   Please prepare all 12 major scales and arpeggios for this audition. Each student will be asked to perform either the G or C chromatic scale in a two octave or full range format.

Please select two short contrasting solo pieces that demonstrate lyrical and technical ability. These selections may come from the same solo, etude or from diverse sources. Choose music that is best suited for your abilities. The following is a suggested list of solos and etude books:

Solo's Bist du Bei Mir - J.S. Bach, arr. Bernard Fitzgerald Aria con Variazioni - G.F. Handel, arr. Bernard Fitzgerald From the Shores of the Mighty Pacific - H.L. Clarke Concerto for Trumpet in E flat - F.J. Haydn, any edition Concerto for Trumpet - J.N. Hummel, any edition Concerto for Trumpet in E flat - J.G.B. Neruda, any edition Concerto for Trumpet - A. Arutunian Etude/Orchestral Books C. Kopprasch: Sixty Selected Etudes for Trumpet Vol. 1 or Vol. 2 Philip Smith: 16 Concert Etudes for Trumpet w/CD Charlier: 36 Transcendental Etudes for Trumpet Top 50 Orchestral Audition Excerpts for Trumpet - edited by Philip Norris, published by Crown Music Press

FRENCH HORN:
 

Click here for a copy of the audition piece.

TROMBONE:

Students who have completed 8th, 9th, and 10th grade are to play the following:
 

Second Book of Practical Studies for Trombone / Bordner // Page 7, #67, Play all, Quarter Note=84

Melodious Etudes for Trombone / Bordogni, Rochut / Fischer Publishing // Page 7, #6, "Andante Cantabile," Play through the fourth measure of line 5, Quarter note =72

Students who have completed grades 11 and 12 are to play the following:
 

Melodious Etudes for Trombone / Bordogni, Rochut / Fischer Publishing // Page 10 #9. Play first five lines (stop at the breath mark), Dotted Quarter = 68-76    and ONE of the following:

Guilmant,  Morceau Symphonique   (Concert Piece, Op 88)  Any edition     Note: Some editions of this work have portions in tenor clef.     OR Rimsky-Korsokov, Concerto for Trombone (Any Edition) 1st and 2nd mvts.only

EUPHONIUM/BARITONE and TUBA:

FLUTE:
 

Any standard solo is fine.  Specifically, a couple of movements from sonatas by Telemann, Handel, Bach, Poulenc, Hindemith, or Bloch, or Concertos of Mozart, would be appropriate.

OBOE:

Grades 8-10

1.	Major scales, C major through 3 flats and 3 sharps; minor scales through 2 flats and 2 sharps.
2.	A solo from Jay Arnold's Everyone's Favorites:   Handel, "Sonata No. 1," 1st movement                       OR    Ceasar Cui, "Orientale," Op. 50
3.	Be prepared to sight-read at CMC Ensemble Placement Audition.

Grades 11-12

1.	Major scales, C major through 5 flats and 5 sharps; minor scales through 3 flats and 3 sharps.
2.	A solo from Jay Arnold's Everyone's Favorites:   Telemann, "Concerto in F minor," 1st movement                                    OR    Mozart "Sonata," K. 370, 1st movement up through measure 63.
3.	Be prepared to sight-read at CMC Ensemble Placement Audition.

CLARINET:
 

1.	Major scales, up to 4 flats and 4 sharps, at least two octaves; full range chormatic scale.
2.	Rose, 32 Etudes: #12 in d minor and #13 in D major; prepare only the first six lines of each
3.	Optional: A solo piece of your choice from your All-district/All-state list (You must have a solo piece prepared to be considered for orchestra or the honors woodwind quintet.)
4.	Sight reading as requested.

BASSOON:
 

1.	Major scales and a 3-octave Bb chromatic scale.
2.	Play something from their state's All-State or All-District solo list OR select two contrasting movements from any sonata by J. E.Galliard.
3.	Be prepared to sight-read at CMC Ensemble Placement Audition (knowledge of tenor clef is required for placement in the CMC orchestra).

SAXOPHONE:
 

1.	Major Scales with Arpeggios (2 octaves where possible)
2.	Full-range Chromatic Scale
3.	An etude or solo excerpt that demonstrates both your lyrical and technical abilities.
4.	An etude excerpt will be presented for sight reading purposes.
5.	Any student wishing to audition for placement in a jazz band will need to play a short jazz prepared piece, and sight read a jazz etude. If you do not have a prepared jazz piece, the sight reading will suffice.

Etude books to consider include The Ferling 48 Studies, the Marcel Mule
etudes, Selected Studies by Voxman, or Rubank Advanced Method, Volume 2.

Solos to consider include works by Eccles, Creston, Lunde, Heiden, Handel,
Ibert, Bozza, Teal, Fasch, Glazounov, Schmidt, Absil, or comparable works.
 

PERCUSSION: (Choose literature appropriate for your level of ability)

 

Snare drum

1.	Four or more rudiments from EACH of the rhythm groupings on the PAS International Snare Drum Rudiments list:   The single-strokes, double-stroke rolls, diddles, flams, and drags.
2.	A short rudimental style etude or excerpt from a longer solo PLUS a short classical style etude or excerpt from a longer solo.
3.	Be prepared to sight-read at CMC Ensemble Placement Audition.

 

Mallets (Xylophone/Marimba/Vibraphone)

1.	Four or more major and minor scales (either natural, harmonic, melodic) two octaves with two octave arpeggios in BOTH flat and sharp key signatures.
2.	A short two-mallet (or four-mallet) etude or solo with or without accompaniment.
3.	Be prepared to sight-read at CMC Ensemble Placement Audition.

 

Timpani

A short etude or solo, which involves ALL four timpani and includes tuning changes.

 

Drum Set

1.	Briefly demonstrate as many styles (swing, jazz, latin, rock, etc.) as possible.
2.	"Trade fours" with yourself,   i.e.,alternate four measures of time in a given style with four measures of solo.
3.	Be prepared to sight-read at CMC Ensemble Placement Audition.

VIOLIN and VIOLA:
 

Play the exposition of a standard concerto or sonata movement of your choice - one that demonstrates your level of development, i.e. knowledge of positions, technical skills, and vibrato.  Check with your teacher if you have any questions about what this means.

A "sight-reading" excerpt will be made available early on the day of the audition. Copies will be on the orchestra board outside the registration room.  You will be expected to play from it at your audition.

STRING BASS:

 

GUITAR:
 

Students should play a selection or two for solo guitar learned from standard notation, NOT tablature.  This music can be either plectrum (pick) or finger (classical) style.  Suggestions for material include:

Finger style: (choose from one of the following)

1.	Any of the eight volumes of the Royal Conservatory Guitar Series (Frederick Harris, pub.)
2.	Frederick Noad’s anthologies (Classical, Baroque, Romantic, etc.)
3.	Etudes and studies by Brouwer, Carcassi, Carulli, Giuliani, Sor, etc.

Plectrum style: (choose from one of the following)

1.	Modern Method for Guitar by William Leavitt (Berklee Press).  Picking etudes, endurance etude, other solos.
2.	Melodic Rhythms for Guitar by William Leavitt (Berklee Press).  Preferably selections from both 3/4 and 4/4 (one of each).

Auditionees should bring a copy of their audition music for the judges.
Music does not need to be performed from memory.
 

ORGAN:
 

1.	One of the "Eight Little" PreludesandFugues(attr. J.S. Bach).
2.	Two verses of a standard hymn, played with the bass line in the pedal.
3.	One piece composed after 1800.

CHAMBER SINGERS:
 

1.	Range testing - singing up and down the scale to determine your voice range.
2.	Tonal memory - echoing short melodies played on the piano.
3.	Sight singing
4.	A prepared solo is not required.

JAZZ VOCAL ENSEMBLE:
 
 

1.	Be prepared to sing one “chorus” (no verses, please) of an up-tempo tune (“swing”) and one slow tune (“ballad”) from the ”standard” or jazz repertoire.  “Standard” tunes are those by composers such as George Gershwin, Cole Porter, Irving Berlin, Harold Arlen , Jimmy McHugh, James Van Heusen, Richard Rogers, Hoagy Carmichael, Duke Ellington etc., as performed in a jazz style by Ella Fitzgerald, Sarah Vaughan, Carmen McCrae, Dianna Kraal, Natalie Cole, Frank Sinatra, Tony Bennett, or Harry Conick Jr. (to name just a few.)
2.	Although not necessarily a requirement for admission to the ensemble, be prepared to sight-read (sight-sing) melodies and rhythms in the jazz style.  Some traditional sight-singing ability is required.
3.	If you are comfortable with improvisation or “scat singing,” you will be asked  to demonstrate.  Ability to improvise is not a requirement for admission to the ensemble.
4.	You will be asked to demonstrate your pitch recognition and melodic memory by vocalizing melodic excerpts immediately after they are played on the piano.
5.	You will be asked to demonstrate your ability to sustain a pitch with and without vibrato.