Audition Details

AUDITION COMPONENTS

1. Solo Performance - perform the appropriate audition piece unaccompanied before a pair of adjudicators  (see "Audition Selections" list farther down for a list by instrument)
   
   

2. Scale Performance - perform 2 major scales (chosen by the adjudicator) from memory, articulated at a minimum metronome marking of 88bpm using the rhythm specified in the All State handbook, and perform a chromatic scale from memory, slurred in triplets at a minimum metronome marking of 88bpm as illustrated in the All State handbook: Scale Requirements Handbook Excerpt (PDF)   Please Note:  The adjudicators will not set the tempo for any scale; it is up to the student to perform the scale at an appropriate tempo.
   
   

3. Sight-Reading - perform a short unfamiliar excerpt without prior practice at a tempo given by the adjudicator

Instrumental Rubric (Adjudication Form) - PDF

2023-24 Solo Performance Audition Selections

PICCOLO: Concerto #2 in D Major, K.314 by W.A. Mozart (published by Carl Fischer or any standard edition)
Excerpts to prepare:  measures 32 through 76

FLUTE: Sonata #2 in Eb Major by J.S. Bach (published by Carl Fischer or any standard edition)
Excerpts to prepare:  1st Movement measures 9-53; 2nd Movement measures 1-21 

OBOE: Concerto #8 in Bb Major by G.F. Handel from 'Solos for the Oboe Player' (published by G. Schirmer)
Excerpts to prepare: first page

BASSOON: Sonata #3 by Johann Galliard from Six Sonatas for Bassoon Volume 1 (published by International Music or McGinnis & Marx)
Excerpts to prepare: 1st Movement (Largo) entire section; 2nd Movement measure 22 to end

CLARINET: Concertino Op. 26 by Carl Maria von Weber (published by Carl Fischer)
Excerpts to prepare: beginning through the end of Variation 1 (measure 89) with no repeats; con fuoco to the end

BASS CLARINET: Serenade Basque by Adolf Hoffman (published by Belwin/Alfred)
Excerpts to prepare: last page (page 4) only

SAXOPHONE (ALTO, TENOR, OR BARITONE): Etudes #23 and #26 from 48 Studies by W.F. Ferling (Kalmus edition recommended but any standard publication accepted)

TRUMPET: Sonata #8 by Arcangelo Corelli (published by Belwin/Alfred)
Excerpts to prepare: Movements 1 & 2 (no repeats)

FRENCH HORN: Concerto #3 in Eb by W.A. Mozart (published by G. Schirmer)
Excerpts to prepare: 1st Movement rehearsal letter A (with pickup) to B; 2nd Movement beginning to first measure of B; 3rd Movement beginning to rehearsal letter B

TROMBONE: Sonata in Eb by Robert Sanders (published by Alfred)
Excerpts to prepare: 1st Movement beginning to letter C; 1st Movement letter F to 2 measures before H; 2nd Movement: E to the end

BASS TROMBONE: Sonata for Bass Trombone by Patrick McCarty (published by Ensemble Publications)
Excerpts to prepare: 1st Movement entire first page; 1st Movement C to D; 2nd Movement F to the end; 3rd Movement measures 105 through 135 (lower notes)

EUPHONIUM: Rhapsody for Euphonium by James Curnow (published by Winwood Music)
Excerpts to prepare: Beginning through measure 64 then cut to measure 116 and finish the last line

TUBA: Sonata #1 in F Major for Tuba by Benedetto Marcello (published by Southern Music)
Excerpts to prepare: 1st Movement all (no repeats); 2nd Movement measures 13-23 (end on third beat); 4th Movement beginning to measure 18 (no repeat)

Scale Possibilities and Ranges

• MAJOR SCALES: all keys - C, F, Bb, Eb, Ab, Db, Gb, Cb, G, D, A, E, B, F#, C# (refer to All State handbook or scale requirements PDF linked above for range)

• CHROMATIC SCALE: 2 or 3 octaves depending on instrument (refer to the All State handbook or scale requirements PDF linked above for starting pitch and number of octaves)

AUDITION COMPONENTS

1. Solo Performance - perform the appropriate audition piece unaccompanied before a pair of adjudicators
   2023-24 Snare Solo: Solo #4 from The Musical Snare Drummer by Alan Keown (published by Alfred)

2. Roll - perform the long roll, open to close to open, with the entire roll lasting at least 30 seconds
   
   

3. Rudiments - perform four rudiments from the list below (one from each group) as selected by the adjudicators, open to close to open, each lasting at least 30 seconds: Drum Rudiments PDF
   Flam Rudiments:  Flam Tap, Flam Accent, Flam, Flamacue, Flamadiddle
   Diddle Rudiments: Paradiddle, Double Paradiddle, Paradiddle Diddle
   Ruff/Drag Rudiments: 4 Stroke Ruff, Single Ratamacue, Double Ratamacue, Triple Ratamacue
   Roll Rudiments: 5 Stroke Roll, 7 Stroke Roll, 9 Stroke Roll, 13 Stroke Roll
   Drum rudiment performance examples (audio files) are available on the website of The Percussive Arts Society (external website link).
   
   

4. Sight-Reading - perform a short unfamiliar excerpt without prior practice at a tempo given by the adjudicator
   
   

5. Mallet & Timpani Excerpts - perform brief excerpts on mallet percussion and timpani:  Excerpts PDF
   
   

Snare Drum Audition Rubric (Adjudication Form) - PDF

AUDITION COMPONENTS

1. Solo Performance - perform the appropriate audition piece unaccompanied before a pair of adjudicators
   2023-24 Timpani Solo: Sonatina for Two or Three Timpani and Piano by Alexander Tcherepnin (published by Boosey & Hawkes)
   
   

2. Tuning & Sticking Studies - perform three tuning studies and three sticking studies as selected by the adjudicators: Timpani Tuning and Sticking PDF

The tuning studies that are considered part of the timpani audition are for two drums and consist of the student finding the correct pitch on the second drum when given a pitch on the first drum by the adjudicator. The sticking studies that are considered part of the timpani audition are for two drums as notated; each study is to be repeated multiple times.

3. Sight-Reading - perform a short unfamiliar excerpt without prior practice at a tempo given by the adjudicator
   
   

4. Snare Drum and Mallet Excerpts - perform brief excerpts on snare drum and mallet percussion:  Excerpts PDF

Timpani Audition Rubric (Adjudication Form) - PDF

AUDITION COMPONENTS

1. Solo Performance - perform the appropriate audition piece unaccompanied before a pair of adjudicators
   2023-24 Mallet Solo: Third Handel Sonata for Marimba and Piano by G.F. Handel (published by Belwin/Alfred)
   Excerpts to prepare: 2nd Movement
   
   

2. Scale Performance - perform 2 major scales (chosen by the adjudicator) from memory, articulated at a minimum metronome marking of 88bpm using the rhythm specified in the All State handbook, and perform a chromatic scale from memory, slurred in triplets at a minimum metronome marking of 88bpm as illustrated in the All State handbook: Scale Requirements Handbook Excerpt (PDF)  Please Note:  The adjudicators will not set the tempo for any scale; it is up to the student to perform the scale at an appropriate tempo.
   
   

3. Sight-Reading - perform a short unfamiliar excerpt without prior practice at a tempo given by the adjudicator
   
   

4. Snare Drum and Timpani Excerpts - perform brief excerpts on snare drum and timpani:  Excerpts PDF

Mallet Percussion Audition Rubric (Adjudication Form) - PDF

AUDITION COMPONENTS

1. Solo Performance - perform the appropriate audition piece unaccompanied before a pair of adjudicators (see "Audition Selections" list farther down for a list by instrument)
   
   

2. Scale Performance - perform from memory one major scale, one melodic minor scale, and an arpeggio based on one of these two scales (as chosen by the adjudicator) at a minimum metronome marking of 88bpm for violin/viola/cello or 60bpm for string bass, using the rhythms specified in the All State handbook: Scale Requirements Handbook Excerpt (PDF)  Please Note:  The adjudicators will not set the tempo for any scale; it is up to the student to perform the scale at an appropriate tempo.
   
   

3. Sight-Reading - perform an unfamiliar excerpt without prior practice

String Rubric (Adjudication Form) PDF

2023-24 Solo Performance Audition Selections

VIOLIN: Concerto #3 in G Major K.216 for Violin and Piano by W.A. Mozart (published by International Music)
Excerpts to prepare: measures 38 through 122

VIOLA: Divertimento in D for Viola and Piano by Joseph Haydn (published by Elkan-Vogel)
Excerpts to prepare: Movement 1

CELLO: Divertimento in D for Cello and Piano by Joseph Haydn (published by Elkan-Vogel)
Excerpts to prepare: Movement 1

STRING BASS: Movement 2 from Sonata in F Major (transposed to G Major) for String Bass and Piano by John Galliard (published by International Music)
Excerpts to prepare: Movement 2

Scale/Arpeggio Possibilities and Ranges

The number in parenthesis ( ) reflects the number of octaves required.

VIOLIN: C Major (2), G Major (3), D Major (2), A Major (3), F Major (2), Bb Major (2), Eb Major (2), A minor (3) , F# minor (2), B minor (2), D minor (2), E minor (2), C minor (2), G minor (3) 

VIOLA: G Major (2), A Major (2), F Major (2), Bb Major (2), Eb Major (2), C Major (3), D Major (3), E minor (2), F# minor (2), B minor (2), G minor (2), A minor (2), C minor (3), D minor (3) 

CELLO: G Major (2), D Major (2), A Major (2), F Major (2), Bb Major (2), Eb Major (2), C Major (3), A minor (2), E minor (2), B minor (2), F# minor (2), D minor (2), G minor (2), C minor (3)

STRING BASS: C Major (1), D Major (1), A Major (1), Bb Major (1), Eb Major (1), G Major (2), F Major (2), A minor (1), B minor (1), F# minor (1), E minor (1), C minor (1), G minor (2), F minor (2)

AUDITION COMPONENTS

1. Vocal Quartet - sing the required audition selection as part of an a cappella quartet
   2023-24 Vocal Selection: Hear My Prayer by Moses Hogan (published by Hal Leonard)
                   * stop after measure 27 before the final "Amen"

The starting pitch may be given by anyone using any sound producing device. Students may then sing or hum their first pitch. An adjudicator may, if asked, provide the starting pitch for a student in the student's octave without a deduction. The students then sing the quartet piece together. If a student or an adjudicator feels the need for a restart because of incorrect pitch or inaccurate count-off, a small deduction will be made to the appropriate part. 

Additional Notes regarding divisi for this piece: 

• Sopranos should sing S1 notes when there is divisi.  (G F Eb in measure 21)

• Altos should sing Eb in measures 3, 11, & 19 and an Ab in measure 5 & 13, G & Ab in measure 21, and the low G (from tenor part) in measures 28-29.

• Tenors should sing C in measure 3, 11 & 19, D in measure 5, 13, 21, Eb in measure 6, 14, & 22, Tenor 1 part in measure 24, & Eb in measures 28-29.

• Basses should sing F in measure 3, 11, & 19, Eb in measure 5-6, 13-14, 21-22, Bass 2 part up the octave for measures 24-27, & Bb in measures 28-29.
  
  

View/Download Visual Guide to Divisi Notes

PRACTICE TRACKS (in all voice part combinations):   S - SA - ST - SAT - SB - SAB - STB - A - AT - AB - ATB - T - TB - B - SATB

2. Solo Singing - sing the appropriate vocal part of the required audition selection (above) as an a cappella solo 

The student will sing the assigned solo excerpt of the quartet piece (Section A, measures 1-8) by themselves after receiving a starting pitch (following the same guidelines as the quartet starting pitch). All members of the quartet will remain in the room during this part of the audition until all student members of the quartet are finished.

3. Scale Performance - given a starting pitch from an adjudicator, sing using solfege a major scale and arpeggio

The adjudicator will give a starting pitch. The student will sing, in solfege, the appropriate full eight note major scale, ascending and descending, and then sing, in solfege, the appropriate arpeggio (Do - Mi - Sol - Do (high) - Sol - Mi - Do - Sol (below tonic) - Do). Scale & Arpeggio Notated Example
Soprano/Tenor  = Key of F
Alto = Key of D     
Bass = Key of C

4. Sight-Singing - 4 measure melodic phrase & 4-measure rhythmic exercise

After having 30 seconds to review the material, the student will sight-sing a 6-measure melodic phrase consisting of quarter notes. The phrase will begin and end on 'Do'. Only pitch accuracy will be judged during the melodic sight-singing component. Then after having 30 seconds to review the material, the student will perform a 4-measure rhythmic exercise. 

Students may use any system they would like for both the Melodic (Solfege, Numbers etc..) and the Rhythmic (Takadimi, Numbers etc.) examples.  They are also permitted to use a neutral syllable, if they prefer.  They will NOT be adjudicated on the accuracy of the use of the system, just on the accuracy of the pitches and the rhythms. Students are allowed to sing or count out loud during the 30 seconds of preparation prior to performing their sight-singing excerpts. Students may restart either sight-singing example, but each carries a 2-point reduction in score. 

Note: the sight-singing is in the same key as the scale (F major for soprano/tenor, D major for alto, C major for bass)

In order to help your students prepare for their upcoming VT All State Vocal Audition, we are providing some Levels you can access in Sightreading Factory.  The levels have been set up to follow the criteria used for the Vocal Sightreading Auditions.  If you do not have access to Sightreading Factory, please let Lynn Sweet (lsweet@svsu.org) know and she will create pdf samples for you.  

Here's how to access them:

1.  Log on to Sightreadingfactory.com

2.  On the left hand side of the screen, select "Levels"

3.  On the top right of the screen, choose "Import"

4.  Copy and Paste the share codes below and the level will be imported into your account.  PLEASE DO NOT EDIT THE LEVELS! 

SHARE CODES 

VT All State Vocal Rhythm: E3UWqidewKfUf1WCm1k9

VT All State Vocal Melody:  p5Opj9PPZbfkRGK7WGFa

A few things to note for the auditions:

1.  Rhythm examples will be 4 measures long and in 4/4 time.  (you can change that setting on your own - it defaults to 8 measures)

2.  Vocal examples will be in 4/4 time in the following keys

           Soprano and Tenor - F Major

           Alto - D Major

           Bass - C Major

    Melodic Audition examples will all begin and end on Low Do (some SRF Examples will start on high Do - there's no way to change that in the settings)

3.  Vocal sightreading will be 8 measures of ALL Quarter Notes - Rhythm does not matter, just accurate pitches.  

Vocal Rubric (Adjudication Form) PDF

Notes Regarding Vocal Auditions

• The vocal quartet and solo singing adjudication will take place in a room with four adjudicators (one for each voice part). 

• Sight-singing (including scale performance) is adjudicated in a room separate from the quartet performance.  Students should go to a vocal sight-singing room immediately after completing their quartet and solo performance adjudication. (Students may complete the sightsinging portion of their audition prior to the quartet portion if there is a sight-singing room that has no line and there is enough time to complete that portion without being late for the quartet performance.) If a student does not complete the sight-singing portion of their audition, their audition will be disqualified from consideration for the All State chorus.

• If a school has an incomplete quartet, they can either have the adjudicator(s) sing the missing part(s) or have another student (from their school or another school) sing the missing part. If a student is ued, that student must either have already auditioned, be scheduled to audition in another room, or not be auditioning for the All State chorus. The student(s) that help fill out quartets will not be rated while performing in that capacity.
  
  
  

AUDITION COMPONENTS

1. Jazz Audition Solo - perform the appropriate audition piece with the house rhythm section at approximately the same tempo as the recording and in the correct style

2023-24 Jazz Solo: 'What Is This Thing Called Love' from Jamey Aebersold Volume 112: Cole Porter Standards 

The head should be played in the tradition of the jazz masters, i.e. not a strict interpretation of the melody and not just improvising over the changes but embellishing the melody in a musically accurate manner. Piano players will play the melody in the right hand and chords in the left hand. For rhythm section instruments (piano, guitar, bass), the process will be to play the tune, walk/comp, solo, and then return to the tune.

2. Improvisation (Audition Piece) - during the playing of the audition piece, improvise one full chorus of the changes to the solo with the house rhythm section then return to the melody without stopping
   
   

3. Technical Jazz Excerpt - perform the appropriate selection from Jim Snidero's Jazz Conception book
     2023-24 Technical Excerpt:  second chorus of Autumn from the book Jazz Conception by Jim Snidero
   
   

4. Improvisation Over Sightreading Changes - improvise over a set of previously unseen changes provided by the adjudicators

The student will have 2 minutes to review the changes and prepare for the improvisation. They will be able to look at the chord changes while performing the improvisation with the house rhythm section.

5. Sight-Reading - perform the appropriate part of a jazz ensemble selection

The student will have one minute to look over the sight-reading after the adjudicator indicates the tempo. Students may not make any sounds while preparing to perform their sight-reading excerpt (but may "air play" the notes as part of their preparation).

Jazz Melodic Instrument Rubric (Adjudication Form) PDF

Notes Regarding Jazz Auditions

• For any jazz audition, the student may use their own handwritten material to perform any portion of the audition as long as the original of their audition piece is available in the audition room. Handwritten material may include a chord sheet, chord chart, chord fingerings, scale sheet, or similar supportive material, but it cannot be an actual written out melodic line, either for the audition piece or an improvisation for any aspect of the audition. Teachers may not supply any handwritten or computer-generated material for the student's use during the audition process.

• Students must improvise the appropriate portion of the audition piece. They cannot read a written out solo based on the chord changes for that improvisation, even if the student wrote it.

• Sightreading is adjudicated in a room separate from the solo performance.  Students should go to the jazz sightreading room immediately after completing their solo performance adjudication. If a student does not complete the sight-reading portion of their audition, their audition will be disqualified from consideration for the All State jazz ensemble.

• During the jazz ensemble selection process, the baritone saxophone position may be filled by a student who auditions on alto or tenor saxophone if that student scores more than 20 points higher than the top baritone sax audition.
  
  

** All students auditioning for this ensemble must ALSO register for and complete an All State chorus audition (quartet, solo, and sight-singing components). **

• For Solo/Part Singers - sing from memory around 16 bars (verse & chorus) of a popular song of your choice unaccompanied to demonstrate how you engage with the style of the music, express the lyrics,  and make your performance your own. Have fun and pick a song that highlights your voice and strengths. The selection must meet the definition of Contemporary Commercial Music as defined below. Musical theater and classical selections are not acceptable for this audition. *The song to be sung during the audition MUST be specified (title and composer or artist) at the time the student is registered for the audition so that adjudicators can be familiar with the music. Songs should have “school-appropriate” content without profanities. Students should know the note they would like to start their song on and are permitted to play their starting note on a pitch pipe or ask the adjudicators to play the starting note they need for them.

Contemporary Commercial Music (CCM) is the accepted terminology to describe the family of mainstream, “popular” music styles that have evolved throughout the twenty-first century, inclusive of styles such as pop, rock, jazz, musical theater, soul, cabaret, country, folk, gospel, rhythm & blues, rap, and associated substyles.

• For Beatboxers/Vocal Percussionists - In addition to singing a solo (as outlined above), perform a simple beat at a comfortable & steady tempo for 1-2 minutes. The performer may choose to include some demonstration of embellished percussion techniques they are comfortable with, such as straight-ahead beats, fills, various sounds, freestyle beatboxing, etc. to demonstrate the ability to groove and keep a solid tempo.

Solo/Part Singer Rubric

Rap Performance Rubric

Beatboxer/Vocal Percussion Rubric 

To submit the title of the song to be performed during the audition, or to make a change to a previously submitted song title, use the form linked below:

A Cappella Song Title Submission Form

Changes are not permitted after December 20th.

AUDITION COMPONENTS

1. Big Band Backup - perform the drum part for the selected big band chart with the house "little big band" (rhythm section with horns) to highlight the student's ability to support a big band

2023-24 Backup Chart: 'Nica's Dream' by Horace Silver arranged by Michael Mossman (published by Hal Leonard)

2. Big Band Solo - perform the drum part for the selected big band chart with the house "little big band" (rhythm section with horns) to highlight the student's ability to back up a soloist and perform solos themselves on the drums

2023-24 Solo Chart: 'Strike Up the Band' by George Gershwin arranged by Sammy Nestico (published by Hal Leonard)

3. Musical Style Demonstration - demonstrate various styles of music as requested by the adjudicator

Styles requested may include: Jazz Waltz, Medium Swing, Up-Tempo Swing, Jazz Ballad, Second Line Swing, Shuffle, 12/8 Afro-Cuban, Bossa, Samba, Mambo/Salsa, Funk

4. Sight-Reading - perform the appropriate part of a jazz ensemble selection

The student will have one minute to look over the sight-reading after the adjudicator indicates the tempo. Students may not make any sounds while preparing to perform their sight-reading excerpt.

Jazz Drums Rubric (Adjudication Form) PDF

Note Regarding Jazz Drum Auditions

• For any jazz audition, the student may use their own handwritten material to perform any portion of the audition as long as the original of their audition piece is available in the audition room. Handwritten material may include a chord sheet, chord chart, chord fingerings, scale sheet, or similar supportive material. Teachers may not supply any handwritten or computer-generated material for the student's use during the audition process.

Jazz Audition Policies & Procedures from All State Handbook

General Information Regarding the Modern Band Ensemble (PDF)

Requirements for all vocalists and instrumentalists EXCEPT *horns (alto/tenor/bari sax, trumpet, trombone):

1. 2023-24 Solo #1 - Prepare and be ready to perform Sir Duke by Stevie Wonder using this linked backing track.
   
   Here's a suggested reference recording of Sir Duke: https://www.youtube.com/watch?v=ArgHvssVfF8

And here is one readily-available transcription of the horn, guitar, and bass parts:  https://www.sheetmusicplus.com/en/product/sir-duke-22539599.html  

2. 2023-24 Solo #2 - Prepare and be ready to perform Umbrella by Rhianna using this linked backing track.
   
   Use this student performance as a model: https://www.youtube.com/watch?v=_W2uSLtgg28

*Horns will only be expected to prepare Solo #1 (Sir Duke). They do not need to prepare Solo #2. However, be sure to refer to the additional instrument-specfic requirements below.

Auditions are designed to mimic the rehearsal process.  The adjudicators will take a few minutes to coach and support the students to improve their performances. This will gauge their adaptability and capacity for coaching. 

Instrument-specific audition notes/requirements:

VOCALS

• • • Sir Duke: In addition to the verses, be prepared to improvise/vocal riff.

    • Umbrella: In addition to the verses, be prepared to sing both melody and harmony on the chorus. Rappers can rap their original lyrics over the introduction (similar to Jay-Z’s part). 

    • A microphone will be provided in the audition room (no need to bring one).

DRUMS

• • • Students will be asked to perform a 16-measure demonstration of three (3) styles of grooves with fills every 4 measures. Options include: rock, hip hop, funk, Motown/soul, latin. The student will choose two of these styles and the adjudicator will choose one.

    • A drum set will be provided in the audition room (no need to bring one).

BASS

• • • Umbrella: special attention will be paid to the students’ time/groove/pocket on the bridge. 

    • Students will be asked to improvise over a blues in one of the following concert pitch keys:  Bb, Eb, G, E, or D.

    • An amplifier will be provided in the audition room. Bring your own bass.

GUITAR

• • • Guitarists will be asked to perform a stylistically accurate guitar solo over the verse and chorus chord changes of Umbrella.

    • An amplifier will be provided in the audition room. Bring your own guitar.

KEYBOARD

• • • Keyboardists will be asked to perform a stylistically accurate keys solo over the verse and chorus chord changes of Sir Duke.

    • A keyboard will be provided in the audition room (no need to bring one).

HORNS (Alto/Tenor/Baritone Saxophone, Trumpet, Trombone)

• • • Students will be asked to improvise over a blues in one of the following concert pitch keys:  Bb, Eb, G, E,  or D. The key will be chosen by the adjudicator. A backing track or live accompaniment will be provided for the audition.

    • Horn players will be asked to repeat a variety of pentatonic riffs/short phrases.  A key will be provided (Bb, Eb, G, E, or D); the phrase will be played; the student must use their ear to play back the phrase as accurately as possible.

Notes regarding the backing tracks:

• Students are encouraged to acquire the backing track and use it when practicing, but they are not required to do so. Students can prepare for the audition however they would like, whether that's learning from a recording, using other available internet resources, et cetera. However, the student will be required to use the backing track during the audition.

• The backing track (provided by the festival) will be used for the audition, with the part being performed by the student muted from it. 

• Vocalists may choose between either the original key or alternative key as listed below. 

Umbrella - Low Key: Bb Minor (Original), High Key:  D Minor

Sir Duke - Low Key: Eb Major, High Key: B Major (Original)

Modern Band Melodic Instrument Rubric (Adjudication Form) PDF

Modern Band Drums Rubric (Adjudication Form) PDF

AUDITION COMPONENTS

1. Solo Performance - perform one, two, or more pieces (with accompaniment if applicable), with a total performance time between 5 and 10 minutes

2. Memorization - perform the entire audition from memory

3. Performance Attire - dress appropriately for a scholarship performance 

Instrumental/Piano Scholarship Rubric (Adjudication Form) PDF

Vocal Scholarship Rubric (Adjudication Form) PDF

Scholarship Audition Notes

• With the exception of classical piano scholarship auditions, in order to receive a scholarship, the student must also audition for one of the festival ensembles (concert band, orchestra, chorus, jazz ensemble). If this requirement is not met, the student will be adjudicated for feedback but will not be considered for scholarship or scholarship performance honors.

• Performances not meeting the minimum time requirement or exceeding the maximum time limit will be disqualified from scholarship consideration.

• Accompanists do not have to memorize their music. Performers may not look at the accompanist's music while performing. Photocopies of individual pages of the accompaniment to assist in difficult page turns are acceptable under federal copyright guidelines, but they must be destroyed following the audition.

• Performers must supply the adjudicators with four copies of the music. For instrumentalists, one of the four copies must be the original instrumental part (not a photocopy). For vocalists, all four copies may be photocopies as long as the original voice part is on the accompanist's part and the accompanist is performing from that original; if not, one adjudicator copy must be the original. For all performers: if multiple originals are available, they should be supplied in lieu of photocopies. The use of photocopies of the music for adjudicators is acceptable under federal copyright Fair Use guidelines; however, the photocopies must be destroyed following the audition.

• Submit a list of the pieces to be performed by December 20th using the Program Submission Form below.
  
  

Program Submission Form

AUDITION COMPONENTS

1. Solo Performance - perform one, two, or more pieces (with accompaniment if applicable), with a total performance time between 5 and 10 minutes

2. Memorization - perform the entire audition from memory

3. Improvisation - improvise a portion of the performance within the harmonic and/or melodic structure of the piece being performed and within the performance time frame (applicable not only for instrumentalists but also vocal jazz performances where the performer may scat or embellish on the melody)

4. Performance Attire - dress appropriately for a scholarship performance
   
   

Jazz Scholarship Rubric (Adjudication Form) PDF

Jazz Scholarship Audition Notes

• In order to receive a scholarship, the student must also audition for one of the festival ensembles (concert band, orchestra, chorus, jazz ensemble). If this requirement is not met, the student will be adjudicated for feedback but will not be considered for scholarship or scholarship performance honors.

• The student may perform any jazz music (in any jazz style) that is of an appropriate scholarship quality and caliber for their instrument or voice, with the exception of the current year's All State audition piece, which may not be used.

• Performances not meeting the minimum time requirement or exceeding the maximum time limit will be disqualified from scholarship consideration. The maximum time limit includes any improvisation portion of the selected piece(s).

• A maximum of three performers may accompany the soloist (one bass line rhythm instrument, one harmony rhythm accompaniment, and one drummer or beat accompaniment) if desired and appropriate. The school hosting the auditions will proide only a piano for this purpose; any other instruments required are the responsibility of the auditioning student.

• Accompanying musicians do not have to memorize their music, but the scholarship audition performer may not look on anyone else's music.

• Vocalists will be allowed to use a microphone if they provide it.

• Performers must supply the adjudicators with four copies of the music, with at least one being an original (not a photocopy). If multiple originals are available, they should be supplied in lieu of photocopies. The use of photocopies of the music for adjudicators is acceptable under federal copyright Fair Use guidelines; however, the photocopies must be destroyed following the audition.

• For any original composition being performed, a copy of the score (either handwritten or computer-generated) must be provided to each adjudicator, and the score needs to properly represent the music being performed to aid the adjudicators in evaluating the performance.

• Submit a list of the pieces to be performed by December 20th using the Program Submission Form below
  
  

Program Submission Form

SUBMISSION COMPONENTS

1. PDF full score of the composition entry

The piece may be in any style and be for any instrumental or vocal solo or group. The maximum performance time (based on metronome markings and the recording) is 7 minutes. If the piece includes an improvisation section, the inclusion of that improvisation does note negate the maximum performance time guideline. The composition may not be an arrangement of an existing piece. Only music composed by individual students will be accepted; collaborative efforts are not eligible for consideration. It is not necessary to submit individual parts, just the score. Illegible scores will not be considered.

2. MP3 recording of the composition

The recording must represent the instrumentation or voice that the composition is written for and not be a piano reduction or other arrangement of the work. Live performance recording is encouraged but computer-generated recordings are acceptable. If the piece is written for a large ensemble and one is not available for this performance recording, a smaller ensemble may be used to perform the piece for the recording.

3. Statement of intent outlining the composer's composition idea, thought process, and inspiration for the composition 

Composition Rubric (Adjudication Form) PDF

Compositions will be adjudicated by Music-COMP staff.

Only students who were registered by their school (during the All State registration process in November) as scholarship auditionees are eligible to submit a composition for scholarship consideration.

Note regarding any composition chosen for scholarship performance: the composer will be responsible for organizing the performance of their work, either creating a high-quality recording in advance of musicians performing the work, or contracting musicians to perform the work live during the concert. If planning a live performance, a rehearsal will be scheduled on the day of the concert (Thursday) or on an earlier date. Music-COMP will assist as needed with this process. 

To submit the composition packet...

Use the form linked below to provide all required information and attach the required materials. The form must be submitted by the teacher who registered the student for scholarship consideration.

Composition Submission Form

Submission Deadline:  Saturday, January 13, 2024 at 11:59pm