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PMEA District 7 Band & Orchestra Auditions

7:30 a.m. Directors Meeting Information

Please familiarize yourself with this information before the meeting!

Upon arriving at Dallastown High School, make your way to the registration table in the main lobby (to the left

once you enter the school). You will pick up your school packet with student scorecards.

Student Score Cards (envelope)

Please distribute these to the students and return the cards of absent students or doubles to the

labeled bin on the registration table.

If there are any corrections, please see Daryl Balseiro immediately. (You should have received

an email prior to this morning to verify the accuracy of the scorecards)

Students should keep the top portion of the scorecard (it tears off) and give the bottom portion to

the runner or chair when they enter the first audition room.

Auditioning students will be identified by number only, not by name. Audition numbers have

been randomly generated.

ALL Flute, Clarinet, and Trumpet students should know whether they are auditioning for

Upper or Lower Band. Please check for understanding.

PLEASE DO NOT WRITE DOWN YOUR STUDENTS’ AUDITION NUMBERS; YOU

SHOULD NOT SEE STUDENT AUDITION NUMBERS!

The following information is included in the director packet:

1. District 7 - PMEA Band and Orchestra Audition Procedures (p 2)

2. Room Assignments (p 4)

3. Map of Dallastown (p 5)

4. Scoring Guides (pp 6-15)

- Sight-reading (string)

- String Solo

- Scales (wind/brass/string)

- Wind/Brass Solo

- Xylophone, Battery, Snare, Timpani

5. Tally Sheets (pp 16-23)

- Sight-reading/Scale (string)

- String Solo

- Scales (wind/brass)

- Wind/Brass Solo

- Xylophone, Battery, Snare, Timpani

6. Sample Scorecards (pp 24-26)

- String

- Wind/Brass

- Percussion

7. Piccolo Audition Procedure (p 27)

8. Percussion Audition Procedure (p 28)

A Sincere Thank You for your dedication - This day is taxing for all involved.

Your professionalism and thoughtfulness make it run smoothly.

PMEA District 7 Band & Orchestra Audition Procedures

1. Directors meet before auditions for roll call, business items and a review of audition procedures. All directors with

auditioning students must be in attendance. The District 7 President must approve exceptions in advance, and an approved

substitute (PMEA member) must be provided.

2. Chairs of the flute, soprano clarinet, and trumpet committees that send players to orchestra auditions will meet immediately

following the director’s meeting. During this meeting you will select the audition passages that will be used for band

auditions and for orchestra auditions. Different passages should be used for band and orchestra wind auditions.

3. Audition committees meet in the audition areas and make judging assignments: a) scales, b) sight-reading (orchestra only), c)

solo part 1, and d) solo part 2. Whenever possible there will be two judges in each room.

4. The committee selects scales 1) chromatic scale (winds/brass/strings); 2) one sharp scale; and 3) one flat scale. Choose

whether the scales are to be slurred or tongued.

5. Committee selects two solo passages:

a. Whenever possible, one passage should be lyrical and slower in tempo; the second passage should be technical and

faster in tempo. Be sure to choose a midpoint for each passage.

b. Passages must be long enough to fairly evaluate student achievement. All auditioning students must play the same

passages.

c. Consider time constraints and the size of auditioning group when selecting solo passages.

d. Judges and students must use the officially announced edition of the solo.

e. Passages marked "cadenza" and any passage declared ineligible at the director’s meeting due to misprints or

controversy over interpretation may not be selected. When in doubt (such as ossia or optional passages), do not

select a passage.

f. ALL STUDENTS IN A SELECTED INSTRUMENT GROUP MUST PLAY THE SAME SCALES AND SOLO

PASSAGES.

6. All auditioning students meet in an audition room.

a. All students must know their assigned audition number. Make sure they know this!

b. The students are informed of scales (tongued or slurred) and solo passages to be used for auditions.

c. Restarting points (beginning and midpoint) and procedures for the two solo sections will be marked at this time to

avoid students having to speak in the audition rooms.

d. Establishing that it is okay for them to play a few notes of warm-up prior to performing in each room will save time

in the audition process.

e. Student questions should be answered at this time.

f. Remind the students that they will meet in this same room after the auditions have been completed to receive their

scorecards and check the math to be certain we have accurate input in the tabulation room.

g. Students are dismissed to waiting area (halls).

7. Students may not play their instruments in the waiting area.

8. Audition Process

a. Auditions are "blind." Judges must have their backs to the students. Students are identified by audition number.

There shall be no conversation between judges and auditioning students. Judges may indicate when to begin

(“Student number 1428, you may have a brief warm up and then begin when you are ready”). DO NOT FACE THE

AUDITIONEES. DO NOT ENGAGE IN CONVERSATION WITH THE STUDENTS BEYOND “LOGISITICS.”

Students will audition on scales first.

b. Students enter the scale room in random order (they may audition when they choose), but follow the same order in

the solo rooms.

c. Orchestra sight-reading will be judged in the scale room (a separate room will be used for violins).

d. Students will then move to solo room #1, then to solo room #2.

9. Scoring Responsibilities

a. You must follow the descriptors on the "scoring guides" (winds, percussion, strings, scales, sight reading). Be

certain to have the correct scoring guide for what you are judging. PLEASE NOTE – A STUDENT ONLY EARNS

A ZERO (0) WHEN S/HE DOES NOT EVEN ATTEMPT TO PLAY THE SCALE/PASSAGE. IF THE

CORRECT SCALE OR PASSAGE IS ATTEMPTED, AT LEAST A ONE (1) WILL BE EARNED).

b. The tally sheets must be legible, signed and turned in to the chair at the end of you committees work. This is a vital

backup that has worked amazingly well to double check and recover information for tabulators, directors, and

students/parents in the past few years.

c. Print neatly on the scorecards. You must enter your scores on the tally sheet and then carefully transfer the scores to

the score sheet. Enter a score in every blank. Every blank must have a score – do not combine any scores.

d. You must enter your scores accurately on the appropriate tally sheet and the students’ scorecard. As students move

from room to room, scorecards are provided to the judges. Note: you may want to wait to enter scores on cards until

a few students have auditioned in order to “get a feel” for the process.

e. Please write in ink. If you make an error on the scorecard, please initial your correction.

f. Judges should use tenths when scoring. Please do not use hundredths or thousandths (When scores are averaged,

hundredths may result – this is O.K.).

g. Average the scores in each room; the chair or his/her designee will enter the Grand Total in the last room.

AVERAGE THE SCORES IN EACH ROOM. THE CHAIR SHOULD DOUBLE CHECK ALL AVERAGES AND

TOTALS. WRITE THE SUBTOTAL AVERAGES AND TOTAL/GRAND TOTAL ON THE SCORE CARDS.

You might want to use a calculator.

h. Cards are delivered to the tabulation room by student messenger or the chair. Please do not “hold” cards. Begin

sending cards to the tabulation room immediately.

10. Chairperson duties

a. Return the “Audition Material Selection” sheet to the tab room before beginning auditions.

b. Please mark the card of the final player in each section for tabulation committee.

c. Return the chairperson folder with all tally sheets to the tabulation room immediately following auditions.

d. When the final score from an audition section has been entered, a preliminary report is generated. CHAIRS must

pick up the preliminary reports in the tabulation room. Preliminary report and scorecards are returned to the

committee in order to check for errors. The scale score (band) or sight-reading score (orchestra) is used as a

tiebreaker. The committee members should compare the scorecards and report to insure that all scores were entered

correctly.

e. The committee chair should, whenever possible, be in charge of collecting scorecards and sending them to the

computer area, overseeing tabulation, and controlling flow of students from room to room. There will be student

runners available to assist committees.

11. The judging committee and the students meet as a group (usually ca. 1:00 p.m.). Scorecards are returned to students. Students

check scorecards for math errors. Any errors must be reported immediately to the committee. SCORE CORRECTIONS CAN

ONLY BE MADE WHEN THE STUDENTS ARE IN THE ROOM – ONCE A STUDENT LEAVES THE ROOM

CORRECTIONS WILL NOT BE MADE. All corrections are made on the preliminary report and returned to the tabulation

room. CHAIRS or their designee (an adult director) must return the preliminary report to the tabulation room. Necessary

corrections are made, and a final report is generated and posted. CHAIRS or their designee: PLEASE RETURN THE

PRELIMINARY REPORT –WHETHER OR NOT THERE ARE CORRECTIONS – PRIOR TO CONDUCTING

ORCHESTRA WIND AUDITIONS.

12. Orchestra Wind Auditions

a. Flute, Clarinet, and Trumpet committees: Students will audition for orchestra after the audition committee verifies

the Band audition results. Audition as many eligible students from upper and lower for orchestra as the orchestra is

accepting (i.e. if the orchestra is accepting 4 clarinets, audition the top 4 eligible clarinets from upper band auditions

and the top 4 eligible clarinets from lower band auditions). Chairs of upper and lower committees (and any other

volunteers or designated committee members) conduct orchestra wind; use the solo passages selected after morning

directors meeting. PLEASE USE FOUR JUDGES FOR ORCHESTRA WINDS AND PERCUSSION

AUDITIONS. WHENEVER POSSIBLE THERE MUST BE AN EQUAL NUMBER OF UPPER AND LOWER

JUDGES PRESENT. DO NOT USE MORE THAN FOUR JUDGES – the scoring system is not set-up to

accommodate more than four judges.

b. Combined upper and lower committees do not conduct these auditions; the results of the morning auditions will be

used for orchestra.

c. Wind and percussion students are eligible for orchestra only if they play in their school orchestra. If their school

does not have an orchestra and they want to audition for orchestra, they may do so. Students must be in grades 9-12

in order to audition for orchestra. Exceptions: euphonium, bass clarinet or other instrument that are usually not part

of an orchestra wind section.

13. Verified results will be posted in the director’s meeting room. DO NOT GO TO THE TABULATION ROOM TO GET

RESULTS.

14. Directors meet at the conclusion of auditions. All directors are required to stay until the auditions are completed.

15. Festival hosts distribute student folios/music and director packets after the directors meeting.

16. EQUAL REPRESENTATION Any school which does not place a student in the Band or Orchestra through the audition

process may place one student in the Band and/or one student in the string section of the Orchestra under “representation”

with the following guidelines. It is the school director’s responsibility to request that representation with the Audition Chair

before leaving Dallastown HS. The District 7 Festival Host is encouraged to accept those students as recommended by the

following panel: Audition Chair; District President; Festival Host Director; School Director. Audition rank should be strongly

considered in reaching the decision. These students are eligible to re-audition for regional Festivals. Requests do not

guarantee placement.

Last Thoughts

When in doubt, please call the tab room with questions – Don’t wait until it’s too late to fix the problem!

Above all, act professionally. Accusations are made every year by students and teachers regarding real or perceived inequities

in the audition process. Be cautious about conversations with other judges before and after students enter the room, facing

students, sitting in front of reflective surfaces, and talking to students.

District Band and Orchestra Audition Room Assignments

Basement Rooms 200's Rooms

11 210

15 212

5 214

18

215

Tabulation Room Library 217

219

100's

103 221

105 223

107 225

109 222

111 224

113 226

114 228

116 230

118 232

120 Strings

122 239

124 240

241

126 243

128

130 249

251

300's 255

303

305 207

307 208

209

309

311 259

313A 257

320

324

326

Bass

Upper Flutes

Upper Bb Clarinets

Oboes, Bassoons, Eb. Clar.

Violas

Cello

Alto Saxophones

Violins

Lower Flutes

Baritones, Bass Bone,

Alto Clarinet

French Horns

Lower Bb Clarinets

Lower Trumpets

Upper Trumpets

Tenor, Bari Sax, Bass Clarinets

Percussion

Tubas, Contra Clar.

Trombones

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PMEA District 7 Sight Reading Scoring Guide

District 7 Band and Orchestra Qualifying Auditions

Sight Reading- STRINGS (total of 20 points)

SIGHT READING

16-20 pitches are accurately performed throughout the excerpt

rhythms are accurately performed throughout the excerpt

articulations are accurately performed throughout the excerpt; precision and clarity of articulations demonstrate full awareness and control

dynamic and expression markings are accurately interpreted throughout the performance; range of dynamics/expression demonstrates full awareness and control

tempo and meter are accurate and consistent throughout the performance; no stopping or faltering

11-15 pitches are essentially accurate throughout the excerpt; isolated mistakes may occur

rhythms are essentially accurate throughout the excerpt; errors consist mainly in precision

knowledge of required articulations is evident in the performance; errors exist mainly in the area of precision and clarity, not in the basic articulations themselves

knowledge of dynamic and expression markings is evident in the performance; the range of dynamic expression may be limited

tempo and meter are essentially accurate and consistent throughout the performance; no stopping, few instances of faltering

6-10 accuracy of pitches is inconsistent; major errors are present in the performance

accuracy of rhythms is inconsistent; major errors are present in the performance

few articulations are performed accurately; precision and clarity are very limited

few dynamic or expression markings are performed accurately; attempts at a range of expression are very limited

tempo and meter are inconsistent and disjointed through the performance; a few stops and/or many instances of faltering are present

1-5 inaccuracy of pitches demonstrates a significant deficiency in sight reading

inaccuracy of rhythms demonstrates a significant deficiency in sight reading

little or no knowledge of written articulations is evident in the performance

little of no knowledge of written dynamic and expression markings is evident in the performance

performance indicates little or no attempt to play with consistent tempo and/or accurate meter; many stops and frequent faltering are present

PMEA District 7 Solo Scoring Guide


Strings Solo (total of 25 points)

TONE QUALITY

5 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers

4 tone quality is characteristic in most registers, but distorts in a few passages (occasional)

3 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)

2 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)

1 tone production is of a quality that hinders the performance

INTONATION

5 intonation is accurate in all ranges and registers

4 intonation is mostly accurate; the student adjusts the few problem pitches to an acceptable standard

3 intonation is somewhat accurate but includes out-of-tune notes; the student adjusts these pitches with some success

2 a basic sense of intonation is evident, yet major errors occur; student makes little attempt to adjust problem pitches

1 intonation is consistently inaccurate and hinders the quality of performance

RHYTHM

5 rhythms are accurate throughout the performance

4 rhythms are nearly accurate; some rhythms lack precise interpretation

3 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)

2 many rhythms performed incorrectly or inconsistently, major errors are present in the performance

1 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistent

MUSICALITY

5 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent with the style of the solo

4 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo

3 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident

2 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present

1 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent

TECHNIQUE

5 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations (timpani pitches are consistently accurate, tuning is executed correctly)

4 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance (timpani pitches are within an acceptable range of accuracy, tuning is executed acceptably)

3 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times (some timpani pitches are inaccurate, some flaws in tuning technique are evident)

2 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)

1 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage (timpani pitches are general unrecognizable, tuning technique is flawed and often detracts from the performance)

PMEA District 7 Scale Scoring Guide


Scale Scoring Guide (total of 10 points)

SCALES 9-10 pitches are accurately performed throughout the scale

rhythms are accurately performed throughout the scale and meet the stated requirement

articulations are performed with precision and clarity

tempo is accurate and meets or exceeds the stated requirement (no stopping or faltering)

intonation is accurate in all registers throughout the scale

tone is characteristic and consistent in all registers throughout the scale

7-8 pitches are accurately performed, isolated errors may be present

rhythms are essentially accurate and meet the stated requirement; a few errors may be present

articulations are essentially correct, a few errors may occur in precision and clarity

tempo is essentially accurate and meets or exceeds the stated requirement (minimal faltering, no stopping)

intonation is accurate, a few inconsistencies may occur in extreme ranges or registers

tone is essentially characteristic, a few inconsistencies may occur in extreme ranges or registers

5-6 pitch errors are present and affect the overall performance at times

rhythmic errors are present; the stated rhythmic requirement may not be clear

articulations are unclear in the performance; precision and clarity are limited

tempo is inconsistent throughout the performance (consistent faltering or occasional stopping)

inconsistencies in intonation are present in the scale, minimal effort to correct these errors is evident

tone exhibits some flaws in basic production; thin, harsh, forced, or unfocused sound is produced at times

3-4 accuracy of pitches is inconsistent; it is difficult to recognize the scale

many rhythmic errors are present; the stated rhythmic requirement is not clear

articulations are not recognizable in the performance; precision and clarity are not evident

tempo is inconsistent and disjointed throughout the performance (consistent faltering and stopping)

only basic intonation is evident; many errors occur and no effort to correct these errors is evident

tone exhibits significant flaws in basic production; thin harsh, forced, or unfocused sound is produced consistently

1-2 significant errors in pitches are present; the scale is essentially unrecognizable

rhythms are incorrect or unrecognizable; the stated rhythmic requirement is not clear

articulations are incorrect or unrecognizable

tempo is unrecognizable; the stated tempo requirement is not attempted

intonation is consistently inaccurate; no sense of tonality is present

tone production is consistently flawed; no characteristic tone is produced



Woodwind/Brass Solo (total of 35 points)

TONE QUALITY

7-6 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers

5-4 tone quality is characteristic in most registers, but distorts in a few passages (occasional)

3 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)

2 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)

1 tone production is of a quality that hinders the performance

INTONATION 7-6 intonation is accurate in all ranges and registers

5-4 intonation is mostly accurate; the student adjusts the few problem pitches to an acceptable standard

3 intonation is somewhat accurate but includes out-of-tune notes; the student adjusts these pitches with some success

2 a basic sense of intonation is evident, yet major errors occur; student makes little attempt to adjust problem pitches

1 intonation is consistently inaccurate and hinders the quality of performance

RHYTHM

7-6 rhythms are accurate throughout the performance

5-4 rhythms are nearly accurate; some rhythms lack precise interpretation

3 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)

2 many rhythms performed incorrectly or inconsistently, major errors are present in the performance

1 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistent

MUSICALITY 7-6 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent

with the style of the solo

5-4 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo

3 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident

2 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present

1 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent

TECHNIQUE 7-6 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity

of pitches and articulations (timpani pitches are consistently accurate, tuning is executed correctly)

5-4 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance (timpani pitches are within an acceptable range of accuracy, tuning is executed acceptably)

3 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times (some timpani pitches are inaccurate, some flaws in tuning technique are evident)

2 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)

1 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage (timpani pitches are general unrecognizable, tuning technique is flawed and often detracts from the performance)



Xylophone Solo (total of 80 points)

TONE QUALITY



9-12 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)

5-8 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)

1-4 tone production is of a quality that hinders the performance

RHYTHM



9-12 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)

5-8 many rhythms performed incorrectly or inconsistently, major errors are present in the performance

1-4 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistsent

MUSICALITY

17-20 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent with the style of the solo


9-12 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident

5-8 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present

1-4 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent

TECHNIQUE

17-20 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations

13-16 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance

9-12 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times

5-8 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision

1-4 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage



Battery Solo (total of 100 points)

TONE QUALITY






RHYTHM






MUSICALITY






TECHNIQUE

21-25 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of articulation



6-10 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision




Snare Solo (total of 80 points)

TONE QUALITY






RHYTHM






MUSICALITY






TECHNIQUE

17-20 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations



5-8 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)


PMEA District 7 Scoring Guide


Snare Roll (total of 20 points)

LONG ROLL

17-20 roll is consistent throughout, consistent quality of sound from hand-to-hand, open roll is even and balanced, closed roll is even and full, seamless transition from open to closed to open, large degree of difference in and control of dynamic levels

13-16 roll is somewhat consistent throughout, quality of sound somewhat varied from hand-to-hand, open roll is somewhat uneven, closed roll is somewhat uneven and has holes in the sound, some difficulty in transition from open to closed to open, some degree of difference in and control of dynamic levels

9-12 roll is not very consistent throughout, quality of sound varies from hand-to-hand, open roll not even or balanced, closed roll uneven and has large holes in the sound, obvious difficulty in transition from open to closed to open, not much difference in and control of dynamic levels

5-8 roll has no consistency, quality of sound differs greatly from hand-to-hand, open roll very uneven and unbalanced, closed roll uneven and has large holes in the sound, tremendous difficulty in transitions from open to closed to open, no difference in or control of dynamic levels

1-4 long roll is completely unprepared



Timpani Solo (total of 60 points)

TONE QUALITY






RHYTHM






MUSICALITY






TECHNIQUE

13-15 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations (timpani pitches are consistently accurate, tuning is executed correctly)

10-12 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance (timpani pitches are within an acceptable range of accuracy, tuning is executed acceptably)

7-9 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times (some timpani pitches are inaccurate, some flaws in tuning technique are evident)

4-6 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)

1-3 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage (timpani pitches are general unrecognizable, tuning technique is flawed and often detracts from the performance)

PMEA District 7 Scoring Guide


Timpani Tuning/Roll (total of 40 points- 30 pts/tuning, 10 pts/fp roll)

TUNING

9-10 pitches are accurate, time limit meets or exceeds the stated requirement, tone is characteristic and clear in all registers, intonation is accurate, all intervals are correct

7-8 pitches are accurate (isolated errors may be present), time limit meets or exceeds the stated requirement, tone is essentially characteristic and clear (isolated errors may be present in extreme registers), intonation is accurate (isolated inaccuracies may be present), intervals are correct (isolated errors may be present)

5-6 pitch errors are present and affect the overall performance at times, time limit is exceeded in tuning process, tone exhibits some flaws in basic production (thin, harsh, forced, or unfocused sound is produced at times), inconsistencies in intonation are present, minimal effort to correct these errors is evident, interval errors are present and affect the overall performance at times

3-4 accuracy of pitches is inconsistent (it is difficult to recognize the interval), time limit is exceeded in tuning process, tone exhibits significant flaws in basic production (thin, harsh, forced, or unfocused sound is produced consistently), only basic intonation is evident (many errors occur and no effort to correct these errors is evident), most intervals are indistinct (many are unrecognizable)

1-2 significant errors in pitches are present (the scale/interval is essentially unrecognizable), time limit is exceeded in tuning process, tone production is consistently flawed (no characteristic tone is produced), intonation is consistently inaccurately (no sense of tonality is present intervallic relationships are unrecognizable)

fp Roll

9-10 roll is completely characteristic, includes strong forte attack with necessary pause to allow for attack to decay, entrance on crescendo is smooth and blended with decay of attack, crescendo is even hand-to-hand and does not pass the tone center of the instrument, decrescendo is even hand-to-hand and goes through all dynamic levels, roll is correctly played on the drum tuned to the Major third

7-8 roll is nearly characteristic, may include strong attack but pause for decay may not be long enough, crescendo is not completely even hand-to-hand and passes tone center of the instrument, decrescendo is somewhat uneven and does not display all of the proper dynamic levels, roll may or may not be played on correct drum

5-6 roll is somewhat characteristic, indications of a strong attack and pause for decay are present but not obvious, both crescendo and decrescendo have lapses in balance and are not even, roll may or may not be played on correct drum

3-4 roll is not very characteristic, no clear attack and decay at all, balance hand-to-hand and evenness of crescendo decrescendo are not evident, roll is played on incorrect drum

1-2 roll does not seem prepared at all

PMEA District 7 Band/Orchestra Auditions

Scale/Sight-Reading Tally Sheet- STRINGS

Student

Number

Scale 1

(10)

Scale 2

(10)

Scale 3

(10)

Total

(30)

Sight-Reading

(20)Comments

Judge Name: __________________________ Instrument: _______________________ Room #: ______________


Solo Tally Sheet- STRING

Student

Number

Tone

(5)

Intonation

(5)

Rhythm

(5)

Musicality

(5)

Technique

(5)

Total

(25)Comments



Scale Tally Sheet- WIND/BRASS

Student

Number

Scale 1

(10)

Scale 2

(10)

Scale 3

(10)Total (30)

Student

Number

Scale 1

(10)

Scale 2

(10)

Scale 3

(10)Total (30)



Solo Tally Sheet- WIND/BRASS

Student

Number

Tone

(7)

Intonation

(7)

Rhythm

(7)

Musicality

(7)

Technique

(7)

Total

(35)Comments



Percussion Tally Sheet- XYLOPHONE

Student

Number

Tone

(20)

Rhythm

(20)

Musicality

(20)

Technique

(20)

Scale 1

(10)

Scale 2

(10)

Total

(100)Comments



Percussion Tally Sheet- BATTERY

Student

Number

Tone

(25)

Rhythm

(25)

Musicality

(25)

Technique

(25)

Total

(100)Comments



Percussion Tally Sheet- SNARE

Student

Number

Tone

(20)

Rhythm

(20)

Musicality

(20)

Technique

(20)

Long Roll

(20)

Total

(100)Comments



Percussion Tally Sheet- TIMPANI

Student

Number

Tone

(15)

Rhythm

(15)

Musicality

(15)

Technique

(15)

fp Roll

(10)

Tuning 23"

(10)

Tuning 26"

(10)

Tuning 29"

(10)

Total

(100)Comments

Judge Name: __________________________________________ Instrument: _________________________________ Room #: ____________________

t+<'^, JAudition # 967

ORCHESTRA

ALL JADGES -please calculatesubtotals, averages,and grand total.

STUDENTS:Please tear off this top partbefore auditioning. Keep thetop part and give the bottompart to the assistant in the firstaudition room.

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#2

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#2

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Judge

Judge

#1

#2

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Solo #2 Avg

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GRANDTOTAL

/E^ing Avg

Grand Total = Scale Avg + Solo #1 Avg + Solo # Avg + Sight Reading Avg.

M ovw;,r/Bress

ALL JUDGES .please culculntesubtotals, averages,and grand total.

STUDENTS:Please tear off this top partbefore auditioning. Keep thetop part and give the bottompart to the assistant in the firstaudition room.

Audition # 59+>

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#2

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Judge

Judge

Scale Avg

lntonation Rhythm Musicality Technique

#1 (?,,* (.3,* f,7,* {( , + 5t,4_ d ,*$,*

Solo #1 AvgJudge

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Judge

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Solo #2 AvgW#1

Tone

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Rhythm Musicality(-+ rt Technique

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GRANDTOTAL a

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Scale Avg + Solo #1 Avg + Solo #2 Avg = GRAND TOTAL

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Student Name

School Name

Audition # €0€€- Please tear off this top partbefore auditioning. Keep thetop part and give the bottom

part to the assistant in the firstaudition room.

Percussion €e0+

110 110

110 110 110

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t20 t20

115 t15 t15 /10 /100 /100

120 120

125 125 t25 t25

Xylophone Avg + Timpani Avg + Snare Avg + Battery Avg = GRAND TOTAL

/100/100t20

GRAND

TOTAL

3L,1. 15

/400

Upper Percussion

PMEA District 7 Solo Scoring Guide District 7 Band and Orchestra Qualifying Auditions

Piccolo Audition Procedure

The audition chairs, in conjunction with the District 7 President, have developed the following procedure

for Piccolo auditions.

District Band piccolo player audition procedure:

1. Students interested in auditioning for the piccolo chair should bring both their flute and piccolo

to auditions.

2. Students will first audition on flute. Students will be selected for district band based upon their

flute audition.

3. Students who are selected for district band based upon their flute audition will have the

option to audition on piccolo.

4. Piccolo auditions will occur immediately following orchestral flute auditions and be evaluated by

the same judges.

5. All students who have qualified for district band and who wish to audition on piccolo should

report to the orchestra flute auditions.

6. A single piccolo audition excerpt will be selected from the District Band flute solo by the

Audition Repertoire Chair. The students will only be asked to play this excerpt; no scales will be

heard.

Auditions at the District Band Festival

1. Students will audition on both flute and piccolo at the District Band Festival.

2. The District Band piccolo folder will contain both flute and piccolo parts.

PMEA DISTRICT 7 TOTAL PERCUSSION AUDITION PROCEDURE AND REPERTOIRE

Students will audition in four separate rooms as defined below. Auditions will employ a “staggered start” with

an approximately equal number of students assigned to start in each room. Students will then rotate through all

four rooms until all parts of the audition have been completed.

All auditions will be combined – no upper/lower rooms. There will be (at least) two judges in each room.

Room 1: Xylophone (all students will use the xylophone provided by the audition host school)

Requirements:

1) two major scales, one sharp and one flat (all major scales will be required)

2) Kreisler/Green: Tambourine Chinois: beginning to the downbeat of m. 31

N.B. Appropriate mallet choice is the responsibility of the student

Room 2: Timpani

Requirements:

1) tune 29” drum to specific pitch (given at the audition) using pitch pipe or tuning fork (no electronic

tuners), then tune a major triad by ear with that note as its root (3rd on the 26” drum and 5th on the 23”)

2) play a fp cresc roll on the 26” drum – approx. 5 seconds

3) Hinger: Roll Off from Solos for the Virtuoso Timpanist

Room 3: Snare Drum

Requirements:

1) concert style roll, start pp-crescendo to ff-diminuendo to pp, approx. 30 seconds in duration

2) Cirone: Portraits in Rhythm #25

Room 4: Tambourine, Triangle, Cymbals

Requirements:

1) Will Rapp: Etude #1

(students must play the entire etude in tempo, including instrument switches, there is a specific length notated

for each transition)

EQUIPMENT RESTRICTIONS AND CONSIDERATIONS:

• Students must provide all snare drum sticks and xylophone mallets.

• Students may bring their own snare drum and accessory instruments but must use the timpani and

xylophone provided.

• All instruments (including triangle beater) will be provided in the event that students do not have access

to them.

Respectfully Submitted 5/1/2011

Richard Miller

Committee: Mark Alexander-Gray, Tony Brill, Steve Goss, Bob Maag, Rich Miller, Andy Williams, Rick Worley

pmea district 7 band & orchestra auditions 7:30 a.m ... · pdf filepmea district 7 band...

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