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TEXAS TECH UNIVERSITY OBOE AUDITION MUSIC Beethoven Symphony No. 3: Scherzo (mvt. 3) SCHERZO Allegro vivace (sLnc) Hindemith III. March J=80 Symphonic Metamorphoses: March (mvt 3)

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  • TEXAS TECH UNIVERSITY OBOE AUDITION MUSIC

    Beethoven Symphony No. 3: Scherzo (mvt. 3)

    SCHERZO Allegro vivace (sLnc)

    Hindemith

    III. March J=80

    Symphonic Metamorphoses: March (mvt 3)

  • 34

    SYMPHONY NO. 6 IN F MAJOR, "PASTORALE" LUDWIG VAN BEETHOVEN

    (1770-1827)

    Excerpt 1: Mvt. 1, bars 25-53; J = 66 The opening of the Pastorale requires high notes that are projective and resonant without being narrow. Your reed must crow a stable high C (or C#, if that is your need). Lift but do not clip the last note of the slurs in places like the repeated C of bar 41. Make sure you play them on the line of your wind, carrying through to the last note.

    (The piano accompaniment begins in bar 25, right on the Violin I cue, 3 bars before you enter.)

    Erwachen heiterer Empfindung-en bei der Ankunft auf dem Lande Allesrro ma non troppo (J - ««) ... , _ ... .? rr nc\ Viol.I m f- VioLI_.> gs • •

    v ~ J ~ o ™ w

    RRRFT'|B'ILFR|RFFF|FFFF|RFEF|T££F|PRRR|FFL'RFIFFRS*|CFESG ^ cresc. . _ . . . _ f

    RFFF|F TTRF|FRRRRIRFRFRIARY

    .. I \ FRTRIFRFRIC,

  • 53

    YMPHONY NO. 3 IN A MAJOR, "SCOTTISH" FELIX MENDELSSOHN

    (1809-1847)

    •cerpt 1: Mvt. 2, pickup to bar 29 through 67; J= 126

    it out your metronome, and hope for a tempo slower than Mendelssohn's J= 126! Besides slowing this down to actice, try to break up your technical problems into components. First, practice just the pickup and 1st downbeat:

    M 11 R 8 SI; ."77":;|JJ 1 • f} « ' ' J. i - J.

    he forked F is a cleaner fmgering on the downbeat, but the left hand F is more in tunc and stronger.

    laying dotted rhythms convincingly usually requires a bit of a lift on the dot, whether or not it is actually indicated, s Mendelssohn does later in this movement (see Excerpt 2).

    n auditions without an accompanist, be very careful to count the full length of the sustained notes.

    Jar 63 should have piu f shown below the half note.

    Excerpt 2: Mvt. 2, pickup to bar 82 through 100; J= 126

    In bars 91-96, Mendelssohn actually indicates where he wants the lift on dotted rhythms most pronounced, actually showing rests rather than a dot. Be aware that the clarinet fills in intervening 16ths before and after [C] during your sustained notes. It is well worth working up this passage under tempo with the principal clarinet and flute.

    Towards the end of this excerpt, in the section with the repeated note articulations, try playing the following before playing it as written:

  • 3. Lost Vegas-Daugherty: II. Mirage 11 solo _ o

    fespr.

    Misterioso 4/4