Looking for Audition Ideas

ttf_Steven · Post by **ttf_Steven** » Wed Dec 27, 2017 7:34 am

In an attempt to up my game (slightly), I'm looking to audition for a community orchestra this spring. I am asked to prepare two excerpts, something fast and something slow. When I asked if this should be orchestra excerpts, etudes, or excerpts from solo material, I was told it didn't matter. So there it is. I need two little pieces of music to show my competence. I've been working through orchestral excerpts, Rochut, maybe some faster etudes, and enjoy playing some of the solo rep, including lieder. Meanwhile I can't decide what I want to play for a stranger. Ideas? Inspiration? Experiences? I expect this group to be more musically fulfilling than some of the groups I play in, so I want to make a good impression.

ttf_Matt K · Post by **ttf_Matt K** » Wed Dec 27, 2017 8:17 am

A solo work that has some degree of contrast is usually a good choice. I wouldn't go with a Rochut. They're good for learning how to play lyrically, but, at least in my experience, I've never played in an orchestra like I do in a Rochut. If you do, pick something closer to the back of the book. I've seen # 37 used a lot for all-state type auditions.

If you have someone around who has a copy of Andante et Allegro (Barat), maybe take a look t it. Or order it, its probably like $12.95. Not surprisingly given its name, it contains a slower movement and a faster movement. It showcases some degree of technical facility in both without coming across as something that is obviously a technical exercise like some of the earlier Rochuts do (#6...). You wouldn't have to do the entire thing probably. It does a good job of showcasing your playingg if you're up for it.

Another option I've seen for college ensemble placements is the Rimsky Korsakov. I believe you can get it on IMSLP for free even to try it out. It isn't my favorite piece, but movements #1 and #2 demonstrate facility.

If those are more difficult, you might wish to check out something like Galliard's 6 Sonatas or Cavatine by Saint-Saens. Those are usually playable by a solid high schooler but are still musical, in my opinion, and and have some demonstration of a variety of types of playing. Something that might raise eyebrows (in a good way if you pull it off) might be the 2nd movement of Winter (Vivaldi). Yes, the violin concerto. If you take it down two ocatves, it actually is in a fairly comfortable range and is also an absolutely beautiful melody. You can skip the trills!

ttf_vegasbound · Post by **ttf_vegasbound** » Wed Dec 27, 2017 9:30 am

Bolero and Mahler 3.

ttf_timothy42b · Post by **ttf_timothy42b** » Wed Dec 27, 2017 9:37 am

I suspect they can tell within minutes or seconds whether you can play with good tone, time, and intonation.

Give them the Swan and a little bit of something technical you can do well. Hungarian maybe. Even Stars & Stripes.

It doesn't sound like a competitive one-winner-many-losers type scenario - they just want to be certain you have the skills you need.

Or - the Mozart Horn concerti have sections that would be perfect, and are more listenable than excerpts.

ttf_GetzenBassPlayer · Wed Dec 27, 2017 9:51 am

One value of using standard rep excerpts is there is a better chance that they will be familiar to the committee. Sometimes non trombone musicians can be somewhat indifferent to our solo rep. What most really want to know is what you will sound like playing in an orchestra situation. The excerpt will be more familiar to them. Given a choice, I have always chosen excerpts over solos.

ttf_BGuttman · Post by **ttf_BGuttman** » Wed Dec 27, 2017 10:16 am

For the slow excerpt I would use the Mozart Requiem (Tuba Mirum, 2nd trombone). It appears on nearly ALL audition lists.

For a fast piece, I like the Berlioz Hungarian March or (if you can hack the rhythm) the Ride.

If you want to just play a tune, I personally like the horn concerti. Numbers 2, 3, and 4 are in Eb and are easy to read. To put it in proper tessitura, play an octave higher than the bass clef "transposition" would indicate. In graphics, play

as

ttf_Steven · Post by **ttf_Steven** » Wed Dec 27, 2017 10:21 am

Quote from: timothy42b on Dec 27, 2017, 09:37AMIt doesn't sound like a competitive one-winner-many-losers type scenario - they just want to be certain you have the skills you need.

I think this is probably accurate. If I'm not good enough, they'll make a conservatory student play in the group.

ttf_Steven · Post by **ttf_Steven** » Thu Dec 28, 2017 6:03 am

Quote from: vegasbound on Dec 27, 2017, 09:30AMBolero and Mahler 3.

They're not entirely out of the question. I like the Mahler, but find it pretty hard to play solo as an excerpt. My Bolero ... needs work.

ttf_Steven · Post by **ttf_Steven** » Thu Dec 28, 2017 6:06 am

Quote from: timothy42b on Dec 27, 2017, 09:37AM
Give them the Swan and a little bit of something technical you can do well. Hungarian maybe. Even Stars & Stripes.

I think the Swan goes up to a D in the original key. While it may be reasonable for the panel to want to know what my D sounds like, I don't know that I need to volunteer this information.

ttf_Steven · Post by **ttf_Steven** » Thu Dec 28, 2017 6:11 am

Quote from: BGuttman on Dec 27, 2017, 10:16AM
For a fast piece, I like the Berlioz Hungarian March or (if you can hack the rhythm) the Ride.

If I can get it good enough, I think I might go with the excerpts from "La Gazza Ladra".

ttf_Steven · Post by **ttf_Steven** » Thu Dec 28, 2017 6:15 am

Quote from: Matt K on Dec 27, 2017, 08:17AMIf you have someone around who has a copy of Andante et Allegro (Barat), maybe take a look t it.

I should have this and the Galliard around somewhere. I think they would work fine for this.

ttf_patrickosmith · Post by **ttf_patrickosmith** » Thu Dec 28, 2017 6:56 am

La Gazza Ladra is a great choice for a technical excerpt.

I like this one for the lyrical solo: Benedetto Marcello Sonata in F Major. I'd skip the trills as they are a distraction from the great sound a lyricism you want to project. Keep the sound crisp and clear at the beginning of articulated notes even at the softer volumes.

Here's the sheet music ...
https://musescore.com/user/134986/scores/153143

ttf_trombonemetal · Post by **ttf_trombonemetal** » Thu Dec 28, 2017 8:10 am

If you can play it well, not many pieces show off more aspects of solid trombone skill and musicianship than the David.

The first page of David is on all the auditions for a reason. Within the first 30 seconds you have stylistically challenging rhythms, arpeggios, scales, technical detached playing, lyrical phrases, and long term phrasing.

If you want two contrasting excerpts do Tuba Mirum and Hungarian March. Covers a lot in two of the most mainstream excerpts.

ttf_MikeBMiller · Post by **ttf_MikeBMiller** » Thu Dec 28, 2017 1:42 pm

They asked for 2 contrasting etudes for my STS audition, so I played Reflective Mood and a bunch of licks from Ballet For a Girl in Buchannon (Chicago). I figured they had heard enough Rochuts and Tuba Mirums to drive them into the nut house.

ttf_Steven · Post by **ttf_Steven** » Sun Dec 31, 2017 8:35 am

Quote from: trombonemetal on Dec 28, 2017, 08:10AMIf you want two contrasting excerpts do Tuba Mirum and Hungarian March. Covers a lot in two of the most mainstream excerpts.

Yep, that's page 1 in my excerpt book. If I had to audition this week, that is probably what I would play. It still may be what I will play. The only problem is it's not much playing.

ttf_Steven · Post by **ttf_Steven** » Sun Dec 31, 2017 8:35 am

Quote from: trombonemetal on Dec 28, 2017, 08:10AMIf you want two contrasting excerpts do Tuba Mirum and Hungarian March. Covers a lot in two of the most mainstream excerpts.

Yep, that's page 1 in my excerpt book. If I had to audition this week, that is probably what I would play. It still may be what I will play. The only problem is it's not much playing.