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)

2025-26 Solo Performance Audition Selections LINK

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

Scale Possibilities and Ranges   **LINK to New Scale Sheets**

• 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
   2025-26 Solo Performance Audition Selections LINK

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).

Additional notes on rudiments:

Open-closed-open technique consists of beginning any rudiment at a slow,

controlled tempo and gradually increasing tempo evenly until a maximum speed

for the drummer is reached. The maximum tempo must reflect the fundamental

stroke and nuance of the rudiment as it would when performed at a slow tempo.

After maintaining the apex tempo musically and accurately for at least two

seconds, the performer must then decrease tempo, maintaining control through

the entirety of the performance. Optimally, the drummer should end on the

opposite hand as started, as is the case of alternating rudiments such as

paradiddles or flam taps. Lastly, the ending tempo should be approximately the same speed as      the initial tempo.

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
   

2025-26 Solo Performance Audition Selections LINK

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
   

2025-26 Solo Performance Audition Selections LINK

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)

2025-26 Solo Performance Audition Selections LINK

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

Scale/Arpeggio Possibilities and Ranges

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

VIOLIN: G Major (3), A Major (3), G minor (3), A minor (3) 

VIOLA: C Major (3), D Major (3), C minor (3), D minor (3) 

CELLO: C Major (3), D Major (3), C minor (3), D minor (3)

STRING BASS: G Major (2), F Major (2), G minor (2), F minor (2)

AUDITION COMPONENTS

1. Vocal Quartet - sing the required audition selection as part of an a cappella quartet
   2025-26 Solo Performance Audition Selections LINK

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.

**PRACTICE TRACKS (in all voice part combinations) LINK COMING SOON**

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 (begin at m. 1 and end At m. 13) 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 4-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: philoPcwgezsBkKerZjF 

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

2025-26 Jazz Solo: 'Have You Met Miss Jones' from Jamey Aebersold Volume 25: All Time 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
     2025-26 Technical Excerpt:  'Greater Love', (And of 3 in m. 32 to m.61) 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.
  
  

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

2025-26 Backup Chart:  "A Warm Breeze", Sammy Nestico- Kendor Music

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

2025-26 Solo Chart:  "Black Orpheus, Luiz Bonfa/arr. Eric Richards- Alfred Music

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.
  
  

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

Students can audition for solo/part singer and/or vocal percussion.

Guidelines for Choosing an Appropriate Song:

• Make sure the song is “school appropriate” meaning it doesn’t have references to drugs/alcohol, sexual behavior, or violence/self-harm.

• Showcase yourself! Ask yourself, is this a song that showcases my skill set and my voice?  Know your range, and make sure the song shows a wide range of notes and skill.  Know your skill set and stay within it. Keep it in your range. This seems obvious, but be sure you can sing EVERY note high, low and in between. The song should fit squarely within your comfortable range, not your “fingers crossed I hope I hit it” range.

• Choose a song whose lyric moves you.  You should have an emotional connection to what the song is about. Making the words your own will be much easier than singing about something you know little about. Choosing a song just because you love how it sounds in your voice will not make it a good choice if you can’t relate to what you’re saying.

• 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, soul, cabaret, country, folk, gospel, rhythm & blues, rap, and associated substyles.

• For 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

Vocal Percussion Rubric 

Requirements for all vocalists and instrumentalists- PICK ONE (1):

1. 2025-26 Solo  - "Superstition" by Stevie Wonder

More Information & Resources Linked Here

• 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

• 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

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

• GUITAR

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

• KEYBOARD

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

• Notes regarding the backing tracks:

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

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

Contemporary 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 15th 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. Full score of the composition entry

The piece may be in any style and be for any electronic, 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.

Score formatting: 

Notated works: A PDF of the full score will be submitted. It is not necessary to submit individual parts, just the score. Illegible scores will not be considered. Please remove your name from the submitted score for adjudication anonymity. 

Electronic works: a screen-capture video of the completed piece playing in your chosen DAW will be submitted. 

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 10, 2026 at 11:59pm