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HOW
DO I AUDITION?
1) Read message from
Music Director and then scroll down, find your
instrument's excerpts
and download. Now start practicing!
The Audition will consist of a single prepared
piece of your choosing, the excerpts for your
instrument and possible sight-reading.
2) Download a 2008/2009
Membership Application, Rules
and Parents
Volunteer Sheet. Fill them out and bring them
to your audition.
3) On or after August 15, 2008 call General Manager
Jan Gilbert at 967-0781 and make an appointment
for auditions. Strings will audition on SATURDAY,
August 30, 2008. Woodwinds, Brass and Percussion
will audition on SUNDAY, August 31, 2008.
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Message
from the Music Director on Auditions and the SBYS
Musicians and their families, welcome to the
Santa Barbara Youth Symphony auditions.
This Youth Symphony has grown in recent years
in size and ability. This growth encourages more
young musicians to audition and brings even greater
musical improvement. This is reason for all of
us to be proud of our past and coming achievement.
I am very proud of this Orchestra.
An orchestra plays best when the stronger musicians
are spread throughout the Orchestra, not just
clumped around the Conductor. SBYS seats string
musicians in a manner that brings the strongest
possible musical outcome to our performances.
Some principal string players will rotate and
almost all wind players will rotate.
Unfortunately not all who audition will be admitted
to the Orchestra. Mostly this happens because
of section size constraints—no one wants
to listen to an Orchestra with 47 Bass players.
We take as many players as we can in a section,
often “doubling” parts, to accommodate
more. To those who don’t make the orchestra,
thank you for your time and musical efforts. We
hope you will continue to play and that we might
see you in the future.
Please note: Participation in the orchestra in
one season does not guarantee your place in succeeding
seasons. Please take the auditions seriously even
if you have been in the youth symphony before.
It is hard for musicians of every level to audition,
to put yourself “on the firing line”.
Because of this, SBYS has tried to and make your
audition as tension-free as possible.
Please help the Orchestra perform better by making
the best music YOU can make, both in audition
and in the Orchestra. You can best do this by
learning your music early and by not worrying
about how your playing compares to others or by
concerning yourself with your placement within
a section.
Please follow the rules of the audition. You are
asked to bring one prepared piece. Prepare a piece
that shows you to your best advantage. If you
bring in more than one piece, you will be asked
to choose one to perform. You will be asked to
play some of the required excerpts. You might
not play all of them and you might be cut off
in the middle because of time constraints. You
might also be asked to sight-read.
Thank you all for auditioning. To those who will
make up the Orchestra, please come to the first
rehearsal prepared for a complex and sophisticated
first Concert.
Best wishes,
Andy Radford
Music Director, SBYS
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| Santa
Barbara Youth Symphony
Audition Excerpts
Updated June 22, 2008
Please take the time to listen to the music before
you start working on the excerpts and as you move
forward. Understanding the style of the music
and finding tempi goals will assist in your preparation.
Rhythm is very important. If your excerpt is in
a steady tempo, make sure that you’re not
compressing or rushing. Show the committee that
you know and understand the style of the excerpt.
If you have trouble playing at the tempo you hear
in recordings, it is ok to perform the excerpt
at the slower tempo you can manage. The Committee
is listening for many things in your playing,
not just speed.
Please ask your teacher for help in preparing
the excerpts.
Please note that some of the excerpts contain
small rests (1 or 2 measures). These are meant
to be counted (performed) in audition—not
to be skipped over.
All parts are 1st parts unless otherwise marked.
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| Violin |
Beethoven
Mendelssohn |
Symph. #5, mvt I, m. 269-300
Midsummer’s Night Dream, Scherzo, m. 17 to
7 after Letter D |
| Concertmaster/Principal |
Contact Andy
Radford |
| Viola |
Beethoven
Mendelssohn |
Symph. #5, mvt. 2, m. 1-10, 98-106
Midsummer’s Night Dream, Scherzo, B
to H |
| Cello |
Beethoven |
Symph. #5, Vt. 2, m. 1-10, 47-59,
98-106,114-123
Symph. #5, mvt 4, pick-up to in. 386 -
418 |
| Principal Cello |
Contact Andy
Radford |
| Bass |
Beethoven |
Syrnph. #5, mvt. 3, m. 1-71
Symph. #5, mvt. 3, m. 140-2 12 |
| Flute |
Beethoven
Beethoven
Debussy |
Symph. #5. mvt. 2, m. 166-179
Symph. #5, mvt. 4, m. 269-300
Afternoon of the Faun, 2 to 3 |
| Piccolo |
Beethoven
Tchaikovsky |
Symph. #5, mvt. 4. m. 69-723
Symph. #4, Finale, A to B
(must audition on Flute) |
| Oboe |
Beethoven
Tchaikovsky |
Beethoven Symph. #5, mvt. 4,
m. 374-395
Tchaikovsky Symph. #4, mvt. 2, Opening |
| English
Horn |
Dvorak |
New World Symph. mvt. 2, Solo
(must audition on oboe) |
| Clarinet |
Schubert
Beethoven
Beethoven |
Symph. in C, mvt 3. in C, m.65-83
Symph. #5, mvt. 2, 166-179
Symph. #6, mvt. 2, D to E |
| Bassoon |
Beethoven
Tchaikovsky |
Symph. #4, mvt. 4, m. 617-639
Symph. #4, rnvt. 2, Solo and ending |
| Horn |
Beethoven
Tchaikovsky |
Symph #5, mvt.2, In. 29-39 (in C)
.........Or, same place
in 2nd horn
Symph. #5, mvt. 2, m. 8-28 |
| Trumpet |
Beethoven
Mussorgsky |
Symph. #5, mvt. 4, m. 374-395
(in C)
Pictures at an Exhibition, Promenade,
opening, in D |
| Trombone |
Beethoven
Wagner |
Symph. #5, mvt. 4, m. 374-395
.........Or, same
place in Bass Trom.
Valkyrie |
| Tuba |
Wagner |
Valkyrie |
| Percussion |
Beethoven
Shostakovich |
Symph. #5, (Timpani) mvt. 1, 346-381
Symph. #7 (snare part) mvt. 1, 19-23 |
| Harp |
Liszt |
Les Preludes, m. 192-200, 280-294
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| Please feel free to contact Andy
Radford if you have questions concerning these
excerpts. |
| Concert Master
and Principal Cello excerpts available from Music
Director |
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