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Pennsylvania MusicEducators Association

District 10 Instrumental Bylaws

www.pmeadistrict10.org

http://www.pmeadistrict10.org/

PMEA District 10District Band and Orchestra Procedures

Acceptance Auditions

I. Student Membershipa. Student membership in District Band and Orchestra, PMEA District 10, shall be determined

by an acceptance audition. Ultimately, the size of the ensemble shall be at the discretion of the host based upon how many students the host can accommodate on stage; however, the instrumentation should meet the suggested standard (see Appendix A) unless a student who meets the cut-off point scores below an acceptable level.

b. Students in grades 7, 8, or 9, who are members in good standing in their school instrumental programs are eligible to participate in District 10 Acceptance Auditions and District 10 Instrumental Festivals. Students in grades 7, 8, or 9 who qualify for District 10 Band and/or Orchestra must participate in auditions at the respective District festival, however, they may not advance to the region ensemble regardless of placement.

c. Students in grades 10, 11, or 12, who are members in good standing in their instrumental programs are eligible to participate in District 10 Acceptance Auditions, District 10 Band/Orchestra Festival, Region V Band, Northeast Region Orchestra, and PMEA All-State Band or Orchestra. Students in grades 10, 11, or 12, must participate in auditions at the District festival regardless of availability or intent to participate at a Region event.

d. In the event a school does not have a school-sponsored instrumental ensemble in their district (i.e. a school does not have a string program), a student in question who attends that district is still eligible to audition for that respective PMEA District 10 ensemble provided the student secures the appropriate signatures (director, principal, parent, and student) on the audition application.

e. Participation by Homed Schooled/Cyber Schooled/Cyber Charter Schooled Students: Home schooled, Cyber-schooled, and Cyber Charter-schooled students will be eligible to participate in PMEA student events (fests and festivals) if they are sponsored by their local school district and the appropriate PMEA member-director and if they are members of the local school district’s ensembles (band for band, orchestra for orchestra).

f. Participation by Private, Parochial, and Charter School Students: Private, parochial, and charter school students must meet the same eligibility requirements as public school students: Students must participate in their own musical ensembles in order to be eligible to participate in any PMEA or NafME festival (band for band, orchestra for orchestra) and must be sponsored by the appropriate PMEA member-director.

g. A public school may not sponsor a private or charter school student under any circumstances.

II. Director Membershipa. The student’s Instrumental Director must be a current member of PMEA. Proof of

membership shall be a routine requirement at all Acceptance Auditions and Festivals. b. The Instrumental Director must be present and participate in the acceptance and festival

auditions. In the event of an extenuating circumstance, the District President and Instrumental Audition Chairman may grant an exception.

c. The Instrumental Director, as the legal representative of the school and the parents, must be available for contact in case of an emergency and must assist the host in any disciplinary measures affecting the director’s student.

d. It is the director’s responsibility to return all forms required by the festival host postmarked no later than the indicated deadline. Failure to do so will result in disqualification of the student for whom the form(s) have not been returned. If unusual circumstances prevent the timely return of the form(s), the director must contact the District President and the host director to request an exception be made. If the exception is made, the form(s) must be submitted at the time of registration at the festival.

e. The Instrumental Director is expected to perform all assigned duties and attend all required meetings throughout the festival.

f. Substitute Director:1. In the event of an emergency or unique circumstance, the District President, with

the Instrumental Audition Chair, may jointly approve a qualified substitute. Request for substitute approval must be made prior to the Acceptance Auditions or the Festival itself. The use of a substitute should be prompted by extenuating circumstances and not personal convenience or preference.

2. A sponsoring PMEA member-director must be musically qualified and must serve in an audition capacity as assigned.

g. Consequences of Noncompliance1. If the Instrumental Director or a qualified substitute does not meet the prerequisites

and responsibilities, no student from that school may participate in either the auditions or the festival.

III. Date of Acceptance Auditiona. Acceptance auditions will be held on the first Saturday of December. If a major conflict

occurs, the District President and Instrumental Audition Chairman will designate an alternate date.

b. Should weather become an issue the Saturday of Acceptance Auditions and it becomes necessary to postpone auditions, Acceptance Auditions will then be held on the next Monday starting at 4:00 pm.

IV. Quota For Acceptance Auditiona. Each school may send a maximum of 20 students to Acceptance Auditions.b. Schools wishing to send 21 or more students to Acceptance Auditions must provide

additional PMEA members to serve as judges. Schools sending 21-40 students will be required to send one additional PMEA member to Acceptance Auditions. Schools sending 41-60 students will be required to send two additional PMEA members to Acceptance Auditions.

V. Formsa. Each student wishing to audition for District 10 Band/Orchestra must complete an

Audition Form. b. Forms must be signed by student, a parent/guardian, participating director, and school

principal. Incomplete forms will be ruled ineligible. c. Forms must be postmarked no later than November 1. Late forms will be ruled ineligible.

d. The sponsoring Instrumental Director must also complete the PMEA Instrumental Audition excel spreadsheet and forward that electronically to the Instrumental Auditions Chairperson no later than November 1.

VI. Music for Acceptance Auditions1. A list of titles shall be divided into a continuing cycle of four years. (Appendix B)2. Students should prepare the selected passages of the solo(s) listed. Specific

passages will be chosen by the Room Audition Chair for adjudication purposes.3. Students must perform the required scales at the audition (Appendix C)4. Students must complete a sight-reading audition. Sight reading will be chosen in

advance by a member of the room audition committee; this person shall be appointed by the Instrumental Audition Chairperson.

VII. Judging Forms – Strings, Woodwinds, Brass1. The official judging form for strings, woodwinds, and brass will include the

following areas: 1. Sight Reading (15 points)2. Scales (15 points)3. Technique (10 points)4. Tone (10 points)5. Interpretation (10 points)6. Rhythm (10 points)7. Intonation (10 points)8. Dynamics (10 points)9. Articulation (10 points)

2. Judges may not award a score of 0 unless the student does not complete that part of the audition (i.e. the student did not play any scales)

3. Judges must assign whole numbers.4. All judges must use the District 10 Judging Forms.5. Sample judging forms used as the areas of judging are found in Appendix D . 6. Rubrics used to guide judges in scoring are found in Appendix E.7. Judges will sign every audition form.

VIII. Judging Forms - Percussion1. There will be separate judging forms for each area of percussion (snare drum,

mallets, timpani). The official judging form for snare drum will include the following areas:

1. The official judging form for snare drum will include the following areas: a) Bass Solo (10 points)b) Cymbal Solo (10 points)c) Long Roll (10 points)d) Technique (10 points)e) Tone (10 points)f) Rhythm (10 points)g) Dynamics (10 points)h) Interpretation (15 points)i) Sight-reading (15 points)

2. The official judging form for mallets will include the following areas: a) Scales (15 points)b) Technique (15 points)c) Tone (10 Points)d) Rhythm (10 points)e) Dynamics (10 points)f) Intonation (10 points)g) Interpretation (15 points)h) Sight-reading (15 points)

3. The official judging form for timpani will include the following areas: a) Interval I (5 points)b) Interval II (5 points)c) Interval III (5 points)d) fp roll (10 points)e) Technique (10 points)f) Tone (10 points)g) Rhythm (10 points)h) Dynamics (10 points)i) Intonation (10 points)j) Interpretation (10 points)k) Sight-reading (15 points)

2. Judges may not award a score of 0 unless the student does not complete that part of the audition (i.e. the student did not attempt to play the long roll)

3. Judges must assign whole numbers.4. All judges must use the District 10 Judging Forms.5. Sample judging forms and rubrics used as the areas of judging are found in

Appendix D . 6. Judges will sign every audition form.

IX. Procedurea. Directors will meet immediately prior to auditions to review audition assignments,

procedures, and audition material.b. Students will be informed of the exact audition material upon entrance to the audition

room.c. Student runners are responsible for taking each instrument to the specific audition rooms.d. Scale and Sight-reading Room (if applicable)

1. For instruments which typically attract many student auditionees (typically but not necessarily limited to trumpets, clarinets, flutes, violins, and alto saxes), a separate scale and sight reading room will be provided.

2. Students will have time to review the sight-reading material before they are required to perform the excerpt.

3. After completing the scale and sight-reading audition, the student will proceed to the solo room.

4. Judges will score auditions in the appropriate categories immediately after each audition. Judges will manually copy their scores on the score tracking sheet as well as enter them electronically into the scoring spreadsheet. Completed audition forms will be given to the student runner who in turn will take the form to the solo room.

Student auditionees will not be able to view their scores immediately following his/her audition.

e. Solo Audition Room1. Students will perform the selected excerpt from the required solo list in this room.2. For instruments which do not have a separate scale/sight-reading room, the scale

and sight reading requirement will take place in the solo room.3. Judges will score auditions in the appropriate categories immediately after each

audition. Judges will manually copy their scores on the score tracking sheet as well as enter them electronically into the scoring spreadsheet. Completed audition forms will be given to the student runner who in turn will take the form to the tabulation room. Student auditionees will not be able to view their scores immediately following his/her audition.

f. For the snare drum audition, a bass solo/cymbal solo room will be provided in a like manner to the scale and sight-reading room.

g. Note that students wishing to perform in the percussion section for Orchestra MUST audition on snare drum, mallets, and timpani (“total percussion”). The students selected for membership in the percussion section for District Orchestra are chosen by a combined total of these three audition scores.

X. Tallya. Tally will be done by computer. The computer will automatically tally the scores for each

audition.b. The tally room may be staffed by non-PMEA members.c. Only directors assigned to the tabulation room may enter during the tally process.

Additional directors may be assigned to report to the tally room to assist where needed.d. Student auditions will be ranked according to total score.e. Ties

1. Ties will be broken using individual categories of the student scores in question. Tone quality will first determine the tiebreaker winner. If a tie still exists after comparing Tone Quality scores, the following categories will be compared until a winner is achieved: Intonation, Technique, Rhythm, Interpretation.

2. Students who win the tie-breaking procedure will be awarded a tenth of a point higher than the original score (152.1, 152). In the case of multiple students who achieve the same score, each score will be awarded another tenth of a point to reflect the tiebreaker results (i.e. 152.3, 152.2, 153.1, and 153).

XI. Availability of Student Scoresa. Acceptance Auditions:

1. Directors will receive a copy of scores at the conclusion of acceptance auditions.2. Any score sheets not taken immediately after acceptance auditions will be mailed to

directors the day following auditions.3. The official list of students chosen for District 10 Band/Orchestra will be published

on the District 10 website within one week of auditions. Audition results will not become official until the list appears online.

4. Directors must report any calculations errors to the Instrumental Audition Chair no later than 3:00pm the Thursday following Acceptance Auditions.

b. Festival Auditions:1. Regional placement will be posted immediately following the final concert of the

festival. Student scores and results will not be announced to students or directors before that time.

XII. Representationa. In the event a school which sends students to December auditions does not have any

students accepted into the ensemble, the Festival Host Director, District President, and Instrumental Audition Chair may select a student to represent the school. The student selected need not be the student with the highest number of points or ranking. The committee shall be guided by the need for a balanced instrumentation. Please note this is for BAND only; there is no representation for orchestra.

b. If no students from the said school are within a reasonable distance from the cut-off point of making the ensemble, there is no guarantee that a student from that school will then be placed into the ensemble.

c. Student representatives will audition for ranking at the district festival and therefore, if chosen, may advance to the region ensemble.

XIII. Festival Host Privilege Student Participationa. The Festival Host Director may add students to the District Festival. Those students must

have participated in the Acceptance Auditions.b. All host privilege students will be auditioned and scored for ranking in the District

Band/Orchestra, but may not continue on to the region festival.

District Band/Orchestra Festival AuditionsXIV. Director Audition Assignments

a. Sergeant at Arms1. Stationed immediately outside the audition room2. Monitors noise level in the hallway3. Assigns student order verifies student audition number4. Verifies student’s ability to advance to the next festival

b. Chairman1. Acts as the student’s advocate. Attempts to create an atmosphere, which will help

relieve fear and tension. Verbal communication with the student should be kept to a minimum

2. Escorts student into the audition room3. Aides in locating student folders4. Announces student number to judges5. Facilitates a restart if necessary

a) The restart policy is one restart per selection in the audition.b) If a student wishes to restart the audition and he/she is past the

midpoint of the selection, the restart location is then at the midpoint of the selection. Otherwise, the student replays the entire example.

6. Escorts the student out of the audition room at the end of the audition7. Collects scores from judges and attaches them to student audition form8. Completed materials are given to the student runner

c. Judges1. A minimum of 2 judges will be assigned to each audition room. 2. Do not face the students during the practice period or the audition. Take special

precaution that windows, mirror, computer screen, or other reflective surfaces do now allow them to see student auditions

3. Scores each audition, both manually with the PMEA score sheet and electronically (when applicable) by computer

4. Changed scores require a new score sheet. No altered score sheet will be accepted by the chairman and/or tabulation room. Altered score sheets must be destroyed.

5. Assigns whole numbers 6. The same score sheets that were used in December auditions will be used at the

district festival. 7. For wind/string players, there will be no scale and sight-reading requirements at

the festival re-auditions.8. Percussionists MUST re-audition on snare drum, mallets, and timpani.

a) For snare drum, there will be no bass solo, cymbal solo, long roll, or sight-reading requirement.

b) For mallets, there will be no scale and sight-reading requirement.c) For timpani, there will be no interval requirement, fp roll, or sight-

reading requirement.9. Do not total scores

d. Tabulation1. Tally will be done by computer2. The tally room may be staffed by non-PMEA members.3. Only directors assigned to the tabulation room may enter during the tally process.

Additional directors may be assigned to report to the tally room to assist where needed.

XV. Audition Materiala. Audition passages will be suggested by the Host director and/or Guest Conductor. All

attempts will be made to select passages that are in as much unison as possible for instruments with split sections (i.e. Clarinet I, Clarinet II, and Clarinet III). The passages will be issued to the directors during director’s meeting immediately prior to festival auditions.

b. Audition selection will be chosen from the concert material that appears in the student’s folder.

c. All festival music may be used for auditions.

XVI. Student Membersa. Every student must audition.b. Refusal to audition automatically excludes the student from participating in the festival.c. Students are not permitted to have electronic devices of any kind in the hallways, holding

room, and/or audition rooms. Use of any electronic devices during a re-audition will disqualify the student from the remainder of the festival.

d. Students must inform Sergeant at Arms their intention of selection to the region festival. A ‘NO’ response can never be changed to a ‘YES’ response after the auditions have occurred.

XVII. Procedurea. Directors will meet immediately prior to audition to review audition assignments,

procedures, and audition material.b. Students will be informed of audition procedures and audition material immediately upon

entering the audition room.c. Student runners are responsible for taking each instrument part to the specific audition

rooms.d. Prior to auditions

1. All student folders will be collected. 2. The instrumental chair will inform the students of the procedures for auditions, as well as

the dates for the respective Region festival. 3. The instrumental audition chair will inform the students of the policy regarding the use of

electronic devices during the audition procedure.e. The Audition

1. Chairman escorts student into audition room.2. Chairman aides in locating student folder.3. Chairman announces student’s audition number.4. Chairman will aide in a restart if necessary.

1. Student may request a restart on each selection of the audition.2. Once a student has reached the midpoint of a passage, the restart will occur

at the midpoint.3. If the student opts for a restart, the 2nd playing will be used for judging

purposes.5. Judges will not face the student during audition.6. Judges will score student audition in each category and sign score sheet. Judges will

score the students manually and electronically (if applicable). 7. Chairman collects score sheets and gives them to the student runner, who in turn

takes the forms to the tabulation room.

APPENDIX ASuggested

Instrumentationand

Stacking Grid

District Band Suggested Instrumentation and Stacking Grid

Pic – 1

Flute I – 1,3,5,7,9,11Flute II – 2,4,6,8,10,12

Oboe I – 1, 3Oboe II – 2,4

Bsn I – 1,3Bsn II – 2,4

Eb Sop Clar – 1

Bb Sop Clar I – 1,2,3,10,11,12,13Bb Sop Clar II – 4,5,6,14,15,16,17,18,24,25,26Bb Sop Clar III – 7,8,9,19,20,21,22,23,27,28,29,30

Eb Alto Clar – 1,2,3,4

Bb Bass Clar – 1,2,3,4,5,6

Eb ContraAlto Clar – 1,2

Alto Sax I – 1,3Alto Sax II – 2,4

Ten Sax – 1,2

Bari Sax – 1,2

Cor I – 1,2,3,4Cor II – 6,10,12,13Cor III – 7,11,14,15Tpt I – 5,9Tpt II – 8,16

Hn I – 1,5,6,7Hn II – 2,8,9,10Hn III – 3,11,12,13Hn IV – 4, 14,15,16

Tbn I – 1,4,5Tbn II – 2,6,7Tbn III – 3,8,9

Bar – 1,2,3,4,5,6

Tuba – 1,2,3,4,5,6,7,8

Timp – 1

Mallets – 1,2

Snare Drum – 1,2,3,4,5,6,7,8

String Bass – 1,2

***Important Note – in the event a student auditions and makes the “minimum instrumentation” requirement but his/her scores are below an acceptable level, he/she will not be included as a member of the ensemble (example: even though the suggested instrumentation calls for 4 alto clarinets, should a student place 4th with a score of only 60 points out of 200 possible, the Instrumental Chair, the District President, and the Host Director reserve the right to not include the student in the ensemble).

District Orchestra Suggested Instrumentation and Stacking Grid

Flute I – 1,3Flute II – 2,4

Oboe I – 1,3Oboe II – 2,4

Bsn I – 1,3Bsn II – 2,4

Clar I – 1,3Clar II – 2,4

Tpt I – 1, 3Tpt II – 2,4

Hn I – 1,5Hn II – 2,6Hn III – 3,7Hn IV – 4,8***Note – Host director may opt to have only 5 horns in the ensemble

Tbn I – 1Tbn II – 2Tbn III – 3

Tuba – 1

Orch Perc – 1,2,3,4

Violin I – 1,2,3,4,9,10,11,12,17,18,21,22,25,26,29,30,33,34,37,38Violin II – 5,6,7,8,13,14,15,16,19,20,23,24,27,28,31,32,35,36,39,40

Viola – 1,2,3,4,5,6,7,8,9,10,11,12

Cello – 1,2,3,4,5,6,7,8,9,10

St Bass – 1,2,3,4,5,6,7,8

APPENDIX BFour-year

Solo Rotation List

DISTRICT 10 PMEA - “YEAR A”INSTRUMENTAL MUSIC AUDITIONS LIST

PICCOLO – Concerto In C Major – Vivaldi – No. 4 – (Cat. # 2782), International, 3rd movement, Allegro Molto

FLUTE – “Seven Sonatas & Largo for Flute and Piano” – G.F. Handel – Southern Pub.,pp.1-2, Sonata 1

B & E FLAT SOPRANO CLARINET – “Masterworks for Clarinet and Piano”, G. Schirmer, Pp 48-49 only – ‘Andante Con Moto’ of “Second Sonata” - BrahmsE FLAT ALTO & CONTRA-ALTO CLARINTET – “Solos for the Clarinet Player”, G. Schirmer #16, Etude In B flat Minor, p 30, AND Intermezzo, p 36B FLAT BASS & CONTRA-BASS CLARINET – “Solos for the Clarinet Player”, G. Schirmer #16, Etude In B flat Minor, p 30, AND Intermezzo, p 36OBOE (ENGLISH HORN) – Everybody’s Favorite Oboe Solos #99, Amsco Music, pp 143-144, Handel – “Sonata No 3”BASSOON – “Solos for the Bassoon Player” – G. Schirmer, pp 20-21, #11 Valse, P. Tchaikovsky

ALTO SAXOPHONE – “Sonata No 3” – Hal Leonard Pub, pp 1, 2, and half of 3, mov. 1 & 2, Handel/RascherTENOR SAXOPHONE – “Solos for the Tenor Saxophone” – G. Schirmer – pp5-6, #3 Hungarian Dance No. 1 – J. BrahmsBARITONE SAXOPHONE –“Solos for the Alto Saxophone”, G. Schirmer – pp 25-26 - #15, Fantasy Piece – R. SchumannTRUMPET (CORNET) – “Trumpet Concerto” – Robert King Music Co – Mov. 1, Hummel

FRENCH HORN – “Solos for the Horn Player”, G. Schirmer – pp23-24, #12 Villenelle – P. Ducas – First two pagesTROMBONE – “Solos for the Trombone Player”, G. Schirmer – pp 12-13, #12 Rhondo – E. Reiche

BARITONE (T.C. & B.C.) – “Concert & Contest Collection”, Rubank – pp 16-17 – L’Allegro – P. KoepkeTUBA – Variations On the Theme of “Judas Maccabeus”, G.F. Handel – Carl Fischer Pub.

SNARE DRUM – “Recital Solos for the Snare Drum”, G. Whaley – Meredith Pub, - pp 12, #10, AND “Techniques of Playing Bass Drum, Cymbals & Accessories”, “Bass Drum Solo” page 35, Measure 26 to end; AND, Cymbal part of Duet, pp 47-48. Al Payson Pub. Drummers MUST Audition on Bass Drum and Cymbals from these above solos.MALLETS – “Percussion Keyboard Technique” – T. McMillian Edition – Pro Art Pub.- page 47, Allegro & MarchTIMPANI – “The Solo Timpanist 26 Etudes”, Vic Firth – Carl Fischer Pub, page 31, #17

VIOLIN – “Concerto #1 in A minor, Mv’t 1, by J.S, Bach, International Edition

VIOLA – “Sonata in D minor, Op. 5 #8, Mv’t 1 & 2,” by A. Corelli, International Edition

CELLO – “Sonata in G Major,” Mvt’ 1 & 2, by Sammaetini, International Edition

STRING BASS – “Sonata #2, Largo & Allegretto” (No Repeats!), by Scarlatti. From Three Sonatas for Double Bass & Piano edited by Lucas Drew, Schirmer Edition

***PLEASE NOTE: Substitutions may be made for ANY solo if that solo becomes unavailable (out of print, etc…)

DISTRICT 10 PMEA – “YEAR B”INSTRUMENTAL MUSIC AUDITIONS LIST

PICCOLO - "Concerto in C Major, F.VI, Number 5 - Vivaldi - Rampal Edition – No. 2781International Music Co. - 1st movement

FLUTE - "Concertino", C. Chaminade, Op. 107 - Moyse Edition - International Music Co. - Beginning to the bottom of pg. 3**.

CLARINET B FLAT & E FLAT SOPRANO - "Concerto for Clarinet ", W. A. Mozart - K.622 - Bellison Edition - C. Fischer - Mv't I, Rehearsal number 2 to 4 and Mv't III, page 16 all**.CLARINET E. FLAT ALTO & E FLAT CONTRA BASS - "Solos for the Clarinet Player" , Schirmer #9 Tambourin - Gossec - Entire solo.CLARINET B FLAT BASS & CONTRA-BASS - "Solos for the Clarinet Player"

Schirmer #9 Tambourin - Gossec - Entire solo.OBOE (ENGLISH HORN) - Everybody's Favorite Oboe Solos #99 - Amsco -

Sonata #1 - Handel - Entire solo.BASSOON (CONTRA BASSOON) - "Solos for the Bassoon Player",

Schirmer - #6 Adagio (from Sextet, Op. 71), Beethoven - Entire solo.ALTO SAXOPHONE - Sonata for E Alto Sax & Piano, Wolfgang Jacobi - 1st Mv't - Bourne, Co.**TENOR SAXOPHONE - Solos for the Tenor Saxophone Player, Schirmer -

Spanish Dance #2 (#10) Moszkowski - Beginning to (B) and (D) to end.BARITONE SAXOPHONE - Solos for the Alto Saxophone, Schirmer - *NOTE ALTO SAXOPHONE BOOK #5 Romantic Piece - Dvorak and #9

Minuet - Haydn.TRUMPET (CORNET) - The Debutante, H. L. Clarke - Warner Bros.**FRENCH HORN - Solos for the Horn Player, Schirmer - #2-I Attempt from Love's

Sickness to Fly - Purcell - pg 5 only and #4 Rondo - Mozart - pg 7 only.TROMBONE - Solos for the Trombone Player, Schirmer - #8 Adagio - Haydn and

#11 Andante Cantabile - Rimsky KorsakovBARITONE (BASS OR TREBLE CLEF) - Concert and Contest Collection for B Flat

Cornet, Trumpet or Baritone - Rubank - #22 Concertino - Ostransky, edited by Voxman - entire solo.

TUBA - Andante and Rondo, - Capuzzi, arr. by Philip Catalinet - Pages 1&2 - Hinrichsen Edition - Peters Edition LTD., London.SNARE DRUM - "Recital Solos for the Snare Drum", G. Whaley - Meredith

Publications - #XXI, p. 23 and Techniques of Playing Bass Drum, Cymbals & Accessories" - Publisher Al Payson - Bass Drum Solo - p. 35, measures 1 thru 25, and Cymbal Solo -

p. 46, entire solo.MALLETS - "Percussion Keyboard Technique" - T. McMillian - ProArt Publications -

Gig Arne p. 52.TIMPANI - Musical Studies for the Intermediate Timpanist, G. Whaley – J.R.

Publications, p. 31. *** Note Well: Different Publisher from past years.***VIOLIN - Concerto No. 4 in D Major - Movement 1 (No Cadenza)– W.A. Mozart- International EditionVIOLA - Concerto in C minor, Movement 1 – J.C. Bach - Salabert EditionCELLO – Sonata No. 3 in A minor – Movements 1 & 2 - Vivaldi - International EditionBASS – Suite #1, Sarabande & Minuetto I & II (no repeats!)– J.S. Bach – Peters Edition*

*From Suites # I, II, III transcribed for Double Bass by S. Sterling N. B. ** - Only acceptable edition of this solo!!


DISTRICT 10 PMEA – “YEAR C”2012-2013 INSTRUMENTAL SOLOS AUDITION LIST

PICCOLO: Concerto in C Major, No. 4 / Vivaldi - International (Cat.# 2782), 3rd Mov., Allegro molto FLUTE: - Concerto in G, Mozart – G. SCHIRMER Pub., 1st Mov., Beginning to measure 149 inclusiveBb & Eb SOPRANO CLARINET: Concerto for Clarinet, K622, Mozart - Bellison Edition, Fischer Pub., 1st Mov, 5 to End Eb ALTO & CONTRA-ALTO CLARINET: "Solos for the Clarinet Player", #6, Sonata in G Major, Marcello, Aurthur Christman Edition, G. Schirmer Pub., pp. 14-15, 3rd and 4th movements. Bb BASS & CONTRA-BASS CLARINET - "Solos for the Clarinet Player", #6, Sonata in G Major, Marcello, Aurthur Christman Edition, G. Schirmer Pub., pp. 14-15, 3rd and 4th movements. OBOE (ENGLISH HORN) - Everybody's Favorite Oboe Solos #99 - Handel - "Sonata No. 2" Amsco, publisher - Entire SoloBASSOON: "Solos for the Basson Player", #1 Bourree #1 and 2, Bach, Bol Schoenbach Editionm G. Schirmer Pub., page 3. ALTO SAXOPHONE: "Solos for the Alto Saxophone Player", #1 Canzonetta, D'Ambrosio, Larry Teal Edition, G. Schirmer Pub, pp 2-3. TENOR SAXOPHONE: "Solos for the Tenor Saxophone Player", #11, Allegro Appassionato, Saint-Seans, Larry Teal Edition, G. Schirmer Pub, pp 18-19. BARITONE SAXOPHONE: "Solos for the Alto Saxophone Player", #11 Rondo in D, Mozart, Larry Teal Edition, G. Schirmer pub., pp 18-19. TRUMPET (CORNET): "Solos for the Trumpet Player", #7, Finale from Trumpet COncerto, Haydn, Walter Beeler Edition, G. Schirmer Pub., pp 16-17. FRENCH HORN: Concerto #2 in Eb Major, K417, Mozart, Carl Fischer Publisher.

Movement I “A” to “L”; and Movement 2 “Q” to end of movement TROMBONE: Morceau Symphonique, Op. 88, Guilmant, Warner Bros. Pub, entire solo. BARITONE (TC & BC): "Concert and Contest Collection for Baritone Players", My Regards, Llewellyn, H. Voxman Edition, Rubank Pub., entire solo. TUBA: Air & Bourree – JS Bach, arr. By Wm. Bell – Entire Solo, Carl Fischer, Publisher. SNARE DRUM (BATTERY) All three selections: - "Recital Solos for the Snare Drum", XXV, G. Whaley, Meredith Pub., page 27. - "Techniques of Playing Bass Drum, Cymbals, & Accessories", Bass Drum Solo, page 35, measures 26 to End, Al Payson Pub. - Techniques of Playing Bass Drum, Cymbals, & Accessories", Cymbal part of duet on pp 47-48, Al Payson Pub. TIMPANI: "The Solo Timpanist (26 Etudes)", #3, Vic Firth, Carl Fischer Pub., page 9. MALLETS: "Percussion Keyboard Technic", Air, Handel, McMillan Edition, Proart Pub, page 40. VIOLIN: Concerto #2 in G Major, Mv’t 1 (NO CADENZA), F. Haydn, edited by Ferdinand Kuchler, Peters

Edition, #4182. BE SURE YOU ARE USING THIS EXACT EDITION.VIOLA: Sonata in E minor, Mv’t 1 & 2 Marcello, International- Publisher CELLO: Sonata in D minor, *Mv’t 1 & 2 Corelli,- International - Publisher * Play top part (larger notes)BASS: Sonata #3 in A minor, Vivaldi – MOVEMENT I AND II (LEARN BOTH movements; play Movement II WITHOUT repeats), From: Six Sonatas for Double Bass & Piano, Schirmer Publisher.


DISTRICT 10 PMEA – “YEAR D”INSTRUMENTAL MUSIC AUDITIONS LIST

PICCOLO - "Concerto in C Major, F.VI, Number 5 – Cat. No. 2781 - Vivaldi – Rampal Edition - International Music Co. - Beginning to Bottom of Page 3.

FLUTE - "Fantasie OP. 79" - Gabriel Faure' - From Flute Music by French Composers -G. Schirmer - pp. 20 & 21.

B& E FLAT SOPRANO CLARINET - "Concertino", Weber - W. Strasser Edition - Carl Fischer - Entire Solo.

E FLAT ALTO & CONTRA-ALTO CLARINET - "Solos for the Clarinet Player" - "Sonata in G Major" - Marcello - Arthur Christman Edition - G. Schirmer

publishing - Mvt. I & II/Pg 13 & 14.

B FLAT BASS & CONTRA-BASS CLARINET - "Solos for the Clarinet Player" - "Sonata in G Major" - Marcello - Arthur Christman Edition - G.

Schirmer publishing - Mvt. I & II/Pg 13 & 14.

OBOE (ENGLISH HORN) - Everybody's Favorite Oboe Solos #99 – Telemann – Concerto in F Minor, movements I and II, pp. 156-157.

BASSOON (CONTRA BASSOON) – “Premier” – E. Bourdeau – H. Voxman Edition – Hal Leonard Publisher – Entire Solo.

ALTO SAXOPHONE - "Rhumba" - Whitney-Bourne Publisher - Entire Solo

TENOR SAXOPHONE - "Solo De Concert" - Singelee - Voxman - Rubank Publisher - Entire Solo.

BARITONE SAXOPHONE - "Contest Etude No. 1" - Ostransky - Rubank Publisher -Entire Solo.

TRUMPET (CORNET) - Characteristic Studies - H. L. Clarke - "Bride of the Waves"Carl Fischer Publisher - Entire Solo.

FRENCH HORN - "Concerto Op. 11" - Strauss - Cundy Bettony Publisher - 1st and Last Mvt.

TROMBONE - "Andante and Allegro" - Barat - Cundy Bettony - 1st and Last Mvt.

BARITONE ( B.C.) - "Serenade”, Oskar Bohme, Op. 22, No. 1, p. 13 – Concert and Contest Collection, ed. Voxman, for Cornet, Trumpet, or Baritone, Rubank; AND Andante from Concerto in Eb, Hadyn, p. 24 - Concert and Contest Collection, ed. Voxman, for Cornet, Trumpet, or Baritone, Rubank(NOTE: Students must prepare BOTH solos. Both solos are in the same book.)

TUBA – “Sonatina” – Uber – Southern Publication – Mv’t. I & II.

SNARE DRUM - "Recital Solos for the Snare Drum" - "#VI" - G. Whaley - MeredithPublications - page 8 and from "Techniques of playing Bass Drum,Cymbals & Accessories" - "Bass Drum Solo" page 35, measures 1 thru 25;and Cymbal Solo p. 46 Entire Solo - Al Payson Publishing. N.B. - All Snare Drummers MUST audition on Bass Drum and cymbals from these above solos.

MALLETS - "Percussion Keyboard Technique" - "Tambourin" - Rameau - T. McMillianEdition - Proart Publications - page 49.

TIMPANI - "The Solo Timpanist 26 Etudes - #VII" - Vic Firth - Carl Fisher Publishing -page 15.

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VIOLIN – “Concerto No. 3 in G Major” (NO CADENZA) – W.A. Mozart – International Edition "first movement only, no cadenzas."

VIOLA – “Divertimento” – Haydn – Piatigorsky Edition – Presser Publication – 1st and 2nd movements only.

CELLO - "Sonata in G Minor” – G.F. Handel - International Edition - 1st and 2nd movements only.

STRING BASS – "Both Bourees from the Third Cello Suite” – J.S. Bach From “Suites No. I, II, III for Double Bass” by Samuel Sterling – Peters Edition -


APPENDIX CPMEA District 10

Scale Requirement

DISTRICT 10 PMEA

Diatonic Scales for Winds and Mallets

Scales should be performed at a minimum speed of quarter note = 120 for all instruments except French Horn, Trombone, Baritone (BC and TC), and Tuba, which may use a minimum speed of quarter note = 100.Scales should be tongued using the following rhythmic pattern:

Chromatic Scales for Winds and Mallets

Chromatic scales should be performed at a minimum speed of quarter note = 120 for all instruments except French Horn, Trombone, Baritone (BC and TC), and Tuba, which may use a minimum speed of quarter note = 100. Scales should be slurred using eighth notes.

INSTRUMENT SCALES WITH OCTAVES TO BE PLAYED CHROMATICPiccolo D, G, F, Bb, Eb, Ab, Db, Gb, C…2 octaves 2 octaves G to G

Flute D, G, F, Bb, Eb, Ab, Db, Gb…2 octaves; C 3 octaves 3 octaves C to COboe (Eng Hn) C, Db, Eb, D…2 octaves; G, F, Bb, Ab, Gb…1 octave 2 octaves C to C

Bassoon D, G, F, Bb, Eb, Ab, Db, Gb, C…2 octaves 2 octaves F to FEb Soprano Clarinet B, A, D, C, Bb, Eb…2 ocatves; E, F, G…3 octaves 3 octaves E to EBb Soprano Clarinet A, D, C, Bb, Eb, Ab…2 octaves; E, F, G…3 octaves 3 octaves E to E

Eb Alto/Contra Alto Clar. B, E, A, D, G, C, F, Bb, Eb…2 octaves 2 octaves F to FBb Bass/Contra Bass Clar. E, A, D, G, C, F, Bb, Eb, Ab…2 octaves 2 octaves F to FEb Alto/Bari Saxophone B, E, D, C, F, Bb, Eb…2 octaves; A, G…1 octave 2 octaves C to C

Bb Tenor Saxophone E, D, C, F, Bb, Eb…2 octaves; A, Ab, G…1 octave 2 octaves C to CTrumpet/Baritone TC A, G, C, Bb, Ab…2 octaves; F, E, Eb, D…1 octave 2 octaves C to C

French Horn A, G, C, F, Bb, Eb, Ab…2 octaves; D, Db…1 octave 2 octaves G to GTrombone/Baritone BC G, F, Bb, Ab, Gb…2 octaves; Eb, D, Db, C…1 octave 2 octaves Bb to Bb

Tuba G, F, Bb, Ab, Gb…2 octaves; Eb, D, Db, C…1 octave 2 octaves F to FMallets (4 count roll on last note) C, F, Bb, Eb, Ab, G, D, A, E…2 octaves 2 octaves C to C

DISTRICT 10 PMEA

Diatonic Scales for Strings

Scales should be performed at a minimum speed of quarter note = 120 , slurred, using the following rhythmic pattern:

Chromatic Scales for Strings

Chromatic scales should be performed at a minimum speed of quarter note = 120 , slurred, using the following rhythmic pattern (eighth note triplets):

3 3 3 3 3 3 3 3

INSTRUMENT SCALES WITH OCTAVES TO BE PLAYED CHROMATICViolin G, Ab, A, Bb…3 octaves; C, D, Eb, E, F…2 octaves 2 octaves G to GViola C, D, Eb…3 octaves; G, A, E, F, Bb, Ab…2 octaves 2 octaves C to CCello C, D, Eb…3 octaves; G, A, E, F, Bb, Ab…2 octaves 2 octaves C to C

String Bass G, Ab, A, Bb, C, E, F…2 octaves; D, Eb 1 octave 2 octaves E to E

APPENDIX DJudging Forms

APPENDIX ERubrics

PMEA DISTRICT 10Mallet Audition Rubric

Technique13 – 15 Performance demonstrates complete mastery of the technical demands of the music, including

precision, facility, and clarity of rhythms10 – 12 Performance nearly demonstrates mastery of the technical demands of the music, minor

inconsistencies are isolated and rarely distract from the performance7 – 9 the majority of passages are handled with reasonable technical facility, some passages include

incorrect or unclear rhythms. Precision and facility are questionable at times4 – 6 performance demonstrates basic knowledge of the technical demands of the music, consistent,

major errors are made in rhythms, facility and precision.

1 – 3 lack of accuracy of rhythms, facility, and precision seriously hinders the performance, the students technique is not developed enough to attempt the solo passage

Tone9 – 10 Tone quality is full, rich, and characteristic of the tone quality of the instrument7 – 8 tone quality is characteristic in most dynamic levels, distorts in a few passages5 – 6 tone quality exhibits some flaws in production (playing zones/balance)3 – 4 tone quality has several flaws in basic production1 – 2 tone production is of a quality that hinders performance

Rhythm9 –10 Rhythms are accurate and precise throughout the performance7 – 8 rhythms are nearly accurate, occasionally, rhythms lack precise interpretation5 – 6 most rhythm patterns are accurate but errors in precision are presents3 – 4 many rhythms performed incorrectly or inconsistently, major errors are present1 – 2 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistent

Dynamics9 – 10 performance demonstrates full control of dynamics and the performance is consistent with the

style of the piece7 – 8 performance demonstrates good control of dynamics, minor errors in dynamic variation are

present5 – 6 most dynamics are accurate but not as defined and varied as they should be3 – 4 many dynamics performed incorrectly or inconsistently. Major errors are present in the

performance.1 – 2 dynamics are consistently performed incorrectly, volume is essentially non-varied

PMEA DISTRICT 10Mallet Audition Rubric (con’t.)

Intonation (striking the correct pitches)9 – 10 Intonation is accurate in all ranges and registers, no wrong notes.7 – 8 Intonation is mostly accurate, a few wrong notes but it does not significantly detract from the

performance.5 – 6 Intonation is somewhat accurate, several wrong notes detract from the overall performance.3 – 4 basic intonation is evident however major problems striking the correct notes significantly detracts

from the performance.1 –2 The number of incorrect notes makes the piece unrecognizable. Wrong notes are more prevalent

than correct notes.

Interpretation14 – 15 Performance demonstrates full control of tempo, dynamics, phrasing, and expression consistent with the

style of the piece11 – 13 performance demonstrates good control of tempo, phrasing, and expression consistent with the

style of the piece, consistency may be somewhat limited, but rarely detracts from the performance8 – 10 performance demonstrates basic control of tempo, phrasing, and expression, basic knowledge of

style is evident, many stylistic inconsistencies prevail throughout.5 – 7 major errors in control of tempo, phrasing, and expression, stylistic inconsistencies prevail

throughout1 – 4 lack of control of tempo, phrasing, and expression hinders the performance, attempts at stylistically

correct performance are unsuccessful or nonexistent

PMEA DISTRICT 10Snare Drum Audition Rubric

Bass Solo9 – 10 Solo is performed with obvious musicality. Rhythms are all correct. Consistent tempo is

maintained. Dynamics are evident. Playing zones/mallet choices are correct with respect to composers intent. All special instructions are followed correctly.

7 – 8 Solo is performed with some musicality. Some variations in rhythm occur. Consistent tempo is mostly maintained. Some dynamics are evident but not always obvious. Playing zones/mallet choices are not all correct. Some of the special instructions are followed.

5 – 6 Solo is performed with little musicality. Many variations in rhythm occur. Consistent tempo is somewhat maintained. Very little dynamic contrast is evident. Playing zones/mallet choices are mostly not in line with composers intent. Few of the special instructions are followed.

3 – 4 Solo is performed with no musicality. Rhythms are unrecognizable from composers intent. Consistent tempo is not maintained. No dynamics are evident. Playing zones/mallet choices give no evidence to composers intent. None of the special instructions are followed.

1 – 2 Solo is completely unprepared.

Cymbal Solo9 – 10 Solo is performed with obvious musicality. Rhythms are all correct. Consistent tempo is

maintained. Dynamics are evident. Playing zones/Technique choices are correct with respect to composers intent. All special instructions are followed correctly.

7 – 8 Solo is performed with some musicality. Some variations in rhythm occur. Consistent tempo is mostly maintained. Some dynamics are evident but not always obvious. Playing zones/Technique choices are not all correct. Some of the special instructions are followed.

5 – 6 Solo is performed with little musicality. Many variations in rhythm occur. Consistent tempo is somewhat maintained. Very little dynamic contrast is evident. Playing zones/Technique choices are mostly not in line with composers intent. Few of the special instructions are followed.

3 – 4 Solo is performed with no musicality. Rhythms are unrecognizable from composers intent. Consistent tempo is not maintained. No dynamics are evident. Playing zones/mallet choices give no evidence to composers intent. None of the special instructions are followed.

1 – 2 Solo is completely unprepared.

PMEA DISTRICT 10Snare Drum Audition Rubric (con’t.)

Long Roll9 – 10 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.

7 – 8 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.

5 – 6 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.

3 – 4 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 – 2 Long roll is completely unprepared.



inconsistencies are isolated and rarely distract from the performance5 – 6 the majority of passages are handled with reasonable technical facility, some passages include

incorrect or unclear rhythms. Precision and facility are questionable at times3 – 4 performance demonstrates basic knowledge of the technical demands of the music, consistent,

major errors are made in rhythms, facility and precision.1 – 2 lack of accuracy of rhythms, facility, and precision seriously hinders the performance, the students

technique is not developed enough to attempt the solo passage

Tone9 – 10 Tone quality is full, rich, and characteristic of the tone quality of the instrument7 – 8 tone quality is characteristic in most dynamic levels, distorts in a few passages5 – 6 tone quality exhibits some flaws in production (playing zones/balance)3 – 4 tone quality has several flaws in basic production1 – 2 tone production is of a quality that hinders performance

Rhythm9 –10 Rhythms are accurate and precise throughout the performance7 – 8 rhythms are nearly accurate, occasionally, rhythms lack precise interpretation5 – 6 most rhythm patterns are accurate but errors in precision are presents3 – 4 many rhythms performed incorrectly or inconsistently, major errors are present1 – 2 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistent

PMEA DISTRICT 10Snare Drum Audition Rubric (con’t.)





Interpretation14 – 15 Performance demonstrates full control of tempo, dynamics, phrasing, and expression consistent with the

style of the piece11 – 13 performance demonstrates good control of tempo, phrasing, and expression consistent with the

style of the piece, consistency may be somewhat limited, but rarely detracts from the performance8 – 10 performance demonstrates basic control of tempo, phrasing, and expression, basic knowledge of

style is evident, many stylistic inconsistencies prevail throughout.5 – 7 major errors in control of tempo, phrasing, and expression, stylistic inconsistencies prevail

throughout1 – 4 lack of control of tempo, phrasing, and expression hinders the performance, attempts at stylistically


PMEA DISTRICT 10Tympani Audition Rubric

Interval I5 Given pitch is matched exactly on the low drum.4 Given pitch is very closely matched on the low drum.3 Given pitch is closely matched on the low drum.2 Given pitch is relatively matched on the low drum.1 Given pitch is not matched at all.

Interval II5 Major third is exactly in tune on middle drum.4 Major third is very close to in tune on middle drum.3 Major third is close to in tune on middle drum.2 Major third is relatively in tune on middle drum.1 Major third is not in tune at all.

Interval III5 Perfect Fifth is exactly in tune on middle drum.4 Perfect Fifth is very close to in tune on middle drum.3 Perfect Fifth is close to in tune on middle drum.2 Perfect Fifth is relatively in tune on middle drum.1 Perfect Fifth is not in tune at all.

PMEA DISTRICT 10Tympani Audition Rubric (con’t.)

Forte/Piano Roll9-10 Roll is completely characteristic. Includes a strong fp attack with necessary pause to allow for

the 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 dynamics 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.



inconsistencies are isolated and rarely distract from the performance5 – 6 The majority of passages are handled with reasonable technical facility, some passages include

incorrect or unclear rhythms. Precision and facility are questionable at times3 – 4 Performance demonstrates basic knowledge of the technical demands of the music, consistent,

major errors are made in rhythms, facility and precision.1 – 2 lack of accuracy of rhythms, facility, and precision seriously hinders the performance, the

students technique is not developed enough to attempt the solo passage

Tone9 – 10 Tone quality is full, rich, and characteristic of the tone quality of the instrument7 – 8 Tone quality is characteristic in most dynamic levels, distorts in a few passages5 – 6 Tone quality exhibits some flaws in production (playing zones/balance)3 – 4 Tone quality has several flaws in basic production1 – 2 Tone production is of a quality that hinders performance

PMEA DISTRICT 10Tympani Audition Rubric (con’t.)

Rhythm9 –10 Rhythms are accurate and precise throughout the performance7 – 8 rhythms are nearly accurate, occasionally, rhythms lack precise interpretation5 – 6 most rhythm patterns are accurate but errors in precision are present3 – 4 many rhythms performed incorrectly or inconsistently, major errors are present1 – 2 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistent





Interpretation9 - 10 Performance demonstrates full control of tempo, dynamics, phrasing, and expression consistent with the

style of the piece7 - 8 performance demonstrates good control of tempo, phrasing, and expression consistent with the

style of the piece, consistency may be somewhat limited, but rarely detracts from the performance5 - 6 performance demonstrates basic control of tempo, phrasing, and expression, basic knowledge of

style is evident, many stylistic inconsistencies prevail throughout.3 - 4 major errors in control of tempo, phrasing, and expression, stylistic inconsistencies prevail

throughout1 - 2 lack of control of tempo, phrasing, and expression hinders the performance, attempts at stylistically


Intonation

9 – 10 Intonation is accurate in all ranges and registers.7 – 8 Intonation is mostly accurate; the student adjusts the few problem pitches to an acceptable

standard.5 – 6 Intonation is somewhat accurate but consistently includes out-of-tune notes; the student

adjusts these pitches with fair success.3 – 4 A basic sense of intonation is evident, yet major errors occur; the student makes little

attempt to adjust pitch.1 – 2 Adjust problem pitches intonation is consistently inaccurate and hinders the quality of the

performance.

PMEA District 10 String, Woodwind, and Brass Audition Rubrics

Technique

9 – 10Performance demonstrates complete mastery of the technical demands of the music, including precision, facility, and clarity of pitches and articulations.

7 – 8 Performance nearly demonstrates mastery of the technical demands of the music. Minor inconsistencies are isolated and rarely distract from the performance.

5 – 6 The majority of passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations. Precision and facility are questionable at times.

3 – 4Performance demonstrates basic knowledge of the technical demands of the music; consistent, major errors are made in pitch, articulation, facility, and precision.

1 – 2Lack 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.

Tone

9 – 10Tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers.

7 – 8 Tone quality is characteristic in most registers, but distorts in a few passages (occasional lapses).

5 – 6Tone quality exhibits some flaws in production (slightly thin/unfocused or forced sound).

3 – 4Tone quality has several flaws in basic production (consistently thin/unfocused or forced sound).

1 – 2Tone production is of a quality that hinders the performance.

PMEA District 10 String, Woodwind, and Brass Audition Rubrics (con’t.)

Interpretation

9 – 10Performance demonstrates full control of tempo, dynamics, phrasing, and expression consistent with the style of the piece.7 – 8 Performance demonstrates good control of tempo, phrasing, and expression consistent with the style of the piece; consistency may be somewhat limited, but rarely distracts from the performance.

5 – 6 Performance demonstrates basic control of tempo, phrasing, and expression; basic knowledge of style is evident; many stylistic inconsistencies are present.

3 – 4Major errors in control of tempo, phrasing, and expression; stylistic inconsistencies prevail throughout.

1 – 2 Lack of control of tempo, phrasing, and expression hinders the performance; attempts at stylistically correct performance are unsuccessful or nonexistent.

Rhythm

9 -10Rhythms are accurate and precise throughout the performance.

7 – 8Rhythms are nearly accurate; occasionally, rhythms lack precise interpretation.

5 – 6Most rhythm patterns are accurate, but errors in precision are present.

3 – 4Many rhythms performed incorrectly or inconsistently, major errors are present.

1 – 2Rhythms are consistently performed incorrectly; clarity and precision are essentially nonexistent.


Intonation

9 – 10Intonation is accurate in all ranges and registers.

7 – 8Intonation is mostly accurate; the student adjusts the few problem pitches to an acceptable standard.

5 – 6Intonation is somewhat accurate but consistently includes out-of-tune notes; the student adjusts these pitches with fair success.

3 – 4A basic sense of intonation is evident, yet major errors occur; the student makes little attempt to adjust pitch

1 – 2Adjust problem pitches intonation is consistently inaccurate and hinders the quality of the performance.

Dynamics

9 – 10Performance demonstrates full control of dynamics and the performance is consistent with the style of the piece.

7 – 8Performance demonstrates good control of dynamics and minor errors in dynamic variation are present.

5 – 6Most dynamics are accurate but not as defined and varied as should be.

3 – 4Many dynamics performed incorrectly or inconsistently. Major errors are present in the performance.

1 – 2Dynamics are consistently performed incorrectly. Volume is essentially non-varied.


Articulation

9 – 10Performance demonstrates complete accurate usage of the articulation demands of the piece.

7 – 8Performance nearly demonstrates accurate usage of the articulation demands of the piece.

5 – 6Most passages are handled reasonably; some passages include incorrect or unclear articulations.

3 – 4Performance demonstrate basic knowledge of articulation; consistent major errors are made.

1 – 2Performance demonstrates little to no knowledge of articulation; most to all passages are incorrect and unclear; consistent and considerable amount of errors are made.

ScalesEach scale is worth 5 points for a maximum total of 15. One (1) point is awarded for correct 1) tempo

2) intonation 3) rhythm 4) notes 5) articulation; for each scale

Sightreading

The performance of the sight reading selection is judged on 5 categories. They are:Correct notes/intonationCorrect rhythms TempoDynamics/toneArticulation

Each category is worth 3 points, scaled: 3 – perfect 2 – average 1 – below average 0 – non-existent

5 categories X 3 points (perfect) = 15

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